Coordinates	35°0′41.69″N135°46′5.47″N
birth name	Marian Gracia Rivera
also known as	Marian Rivera
nick name(s)	Yan-yan
birth date	August 12, 1984
birth place	Madrid, Spain
yearsactive	2005–present
occupation	Model, actress
website	http://www.igma.tv/profile/marian-rivera }}

Marian Rivera (born Marian Gracia Rivera on August 12, 1984 in Madrid, Spain) is a Filipina actress and occasional singer-dancer. Her first TV role came in 2005 via TAPE Inc.'s afternoon drama, ''Kung Mamahalin Mo Lang Ako'' in the lead that was aired in GMA Network. In 2007 she was cast for the title role in the Philippine remake of ''MariMar''. She released two studio albums: ''Marian Rivera Dance Hits'' and ''Retro Crazy'' sold 75,000 copies. She currently signed with GMA Network.

Personal life

Marian Rivera was born in Madrid, Spain to Francisco Javier Gracia Alonso, a Spaniard, and Amalia Rivera , a Filipina of Caviteña.

Career

Rivera first starred in afternoon soap operas for TAPE Inc. and GMA Network including ''Kung Mamahalin Mo Lang Ako'', ''Agawin Mo Man Ang Lahat'' and ''Pinakamamahal''. She acted in ''Enteng Kabisote 2: Okay Ka Fairy Ko: The Legend Continues''. Later GMA Network cast her into mother roles for the afternoon Philippine-Malaysian drama ''Muli''.

Rivera formally signed a contract in GMA Network, Inc. and starred the title role of ''MariMar'', which premiered on August 13, 2007. Later, Rivera was awarded in GMMSF Inc. in the 38th Box-Office Entertainment Awards.

In 2008, Rivera played the role of ''Dyesebel'' which aired on April 28, 2008. She appeared in ''Ang Babaeng Hinugot Sa Aking Tadyang''.

In 2010, Rivera, starred in the TV remake of ''Endless Love''.

In 2011, Rivera, starred in GMA Network's series ''Amaya''.

Film career

In 2006, Rivera signed a contract for Regal Films andwas cast in the horror movie, ''Pamahiin''.

Rivera starred in two MMFF movie entries: ''Bahay Kubo'' and ''Desperadas''. In 2008, Rivera starred in the romantic comedy ''My Best Friend's Girlfriend''

In 2009, she then played the role of Nieves, ''The Engkanto Slayer,'' in a title episode of ''Shake, Rattle & Roll X'', an MMFF entry. She worked with singer and songwriter Ogie Alcasid and the ''Desperadas'' cast, for the sequel, ''Desperadas 2.'' She also starred in the horror movie, ''Tarot''.

In early 2010, she appeared in ''You to Me Are Everything'', a romantic comedy film.

Filmography

Television

TelevisionKung Mamahalin Mo Lang AkoMuli (TV series) Anghel sa Lupa

Year	Title	Role
2005	|	Clarisse Galang	TAPE, Inc.
rowspan="2"	2006	Agawin Mo Man Ang Lahat
Pinakamamahal	Carissa Crismundo
rowspan="3"	2007	Muli ||	Racquel Estadilla	GMA Network
Super Twins	Ester Paredes
MariMar (Philippine TV series)	MariMar	Marimar Perez / Bella Aldama
2008	Dyesebel (TV series)>Dyesebel
rowspan="4"	2009	Ang Babaeng Hinugot Sa Aking Tadyang
Sugat ng Kahapon	Hilda
Darna (2009 TV series)	Darna
Show Me Da Manny	Manuella "Ella" Paredes
rowspan="3"	2010	|	Theresa San Miguel	TAPE, Inc.
Endless Love (Philippine TV series)	Endless Love
Jillian: Namamasko Po	Odessa
rowspan="3"	2011	Ang Spooky Mo: Bampirella>Spooky Nights Presents: Bampirella
Amaya (TV series)	Amaya	Amaya

Movies

FilmsEnteng Kabisote 2: Okay Ka Fairy Ko: The Legend ContinuesPamahiinYou to Me Are Everything (film)Temptation Island (2011 film)

Year	Title	Role
2005	|	Alyssa	OctoArts Films
2006	|	Becca	Regal Entertainment
2007	Bahay Kubo (film)>Bahay Kubo
rowspan="6"	2008	Desperadas
My Best Friend's Girlfriend
One True Love	Joy
Scaregivers	cameo
Shake Rattle & Roll X
Desperadas 2	Courtney
2009	Tarot (2009 film)>Tarot
rowspan="2"	2010	You to Me Are Everything ||	Iska	GMA Films
Super Inday and the Golden Bibe	Inday/Super Inday
rowspan="2"	2011	Temptation Island ||	Cristina	Regal Films
Ang Panday: Part II	TBA

Discography

Albums

AlbumsMarian Rivera Dance HitsRetro Crazy

Year	Title	Record Label
2008	|	Universal Records (Philippines)>Universal Records	2x Platinum
2009	|	Universal Records (Philippines)>Universal Records	Platinum

Singles

TitleRetro Crazy

Year	|	Record Label	Certification
2009	Sabay Sabay Tayo ||	Universal Records (Philippines)>Universal Records	Platinum

Awards and nominations

+ Marian Rivera
Year !! Award !! Category !! Nominated Work !! Result
2006	20th PMPC Star Awards for Television	Best New Female TV Personality	Kung Mamahalin Mo Lang Ako
	4th USTV Students' Choice Awards	Most Popular Actress in a Drama/Miniseries
1st Annual Fil-Am Visionary Awards	Favorite Television Actress
	Most Promising Female Star	My Best Friend's Girlfriend
Phenomenal TV Star
FAMAS	German Moreno Young Achievement Award	Desperadas 2
	6th Golden Screen Awards	Best Performance by an Actress in a Leading Role—Musical or Comedy
40th Guillermo Memorial Scholarship Award	Valentine Box Office Queen
2010		Best Actress	Super Inday and The Golden Bibe

References

External links

Marian Rivera's Profile at iGMA.tv

Category:Cavite actors Category:Filipino actors Category:Tagalog people Category:Filipino people of Spanish descent Category:GMA Artist Center Category:Living people Category:People from Cavite Category:People from Madrid Category:Spanish people of Filipino descent Category:1984 births

ceb:Marian Rivera tl:Marian Rivera

Coordinates	35°0′41.69″N135°46′5.47″N
name	Buster Keaton
birth name	Joseph Frank Keaton
birth date	October 04, 1895
birth place	Piqua, Kansas, U.S.
death date	February 01, 1966
death place	Woodland Hills, California, U.S.
other names	Joseph Francis Keaton
occupation	ActorDirectorProducerWriter
years active	1898–1966
spouse	Natalie Talmadge (1921–32)Mae Scriven (1933–36)Eleanor Norris (1940-66) (his death)}}

Joseph Frank "Buster" Keaton (October 4, 1895 February 1, 1966) was an American comic actor, filmmaker, producer and writer. He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname "The Great Stone Face".

Keaton was recognized as the seventh-greatest director of all time by ''Entertainment Weekly''. In 1999, the American Film Institute ranked Keaton the 21st-greatest male star of all time. Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies." Orson Welles stated that Keaton's ''The General'' is the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made. A 2002 worldwide poll by ''Sight & Sound'' ranked Keaton's ''The General'' as the 15th best film of all time. Three other Keaton films received votes in the magazine's survey: ''Our Hospitality'', ''Sherlock, Jr.'', and ''The Navigator''.

Early life in vaudeville

Keaton was born Joseph Frank Keaton into a vaudeville family. He was named "Joseph" to continue a tradition on his father's side—he was sixth in a line bearing the name Joseph Keaton—and "Frank" for his maternal grandfather, who disapproved of the parents' union. Later, Keaton changed his middle name to "Francis". His father was Joseph Hallie "Joe" Keaton, a native of Vigo County, Indiana. Joe Keaton owned a traveling show with Harry Houdini, the ''Mohawk Indian Medicine Company'', which performed on stage and sold patent medicine on the side. Buster Keaton was born in Piqua, Kansas, the small town where his mother, Myra Edith Cutler, happened to go into labor.

According to a frequently-repeated story, which may be apocryphal, Keaton acquired the nickname "Buster" at about eighteen months of age. Keaton told interviewer Fletcher Markle that Harry Houdini happened to be present one day when the young Keaton took a tumble down a long flight of stairs without injury. After the infant sat up and shook off his experience, Houdini remarked, "That was a real buster!" According to Keaton, in those days, the word "buster" was used to refer to a spill or a fall that had the potential to produce injury. After this, it was Keaton's father who began to use the nickname to refer to the youngster. Keaton retold the anecdote over the years, including during a 1964 interview with the CBC's ''Telescope''.

At the age of three, Keaton began performing with his parents in ''The Three Keatons''. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing. The act evolved as Keaton learned to take trick falls safely; he was rarely injured or bruised on stage. This knockabout style of comedy led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. He was eventually billed as "The Little Boy Who Can't Be Damaged," with the overall act being advertised as "'The Roughest Act That Was Ever in the History of the Stage." Decades later, Keaton said that he was never hurt by his father and that the falls and physical comedy were a matter of proper technical execution. In 1914, Keaton told the ''Detroit News'':

The secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.

Keaton claimed he was having so much fun that he would sometimes begin laughing as his father threw him across the stage. Noticing that this drew fewer laughs from the audience, he adopted his famous deadpan expression whenever he was working.

The act ran up against laws banning child performers in vaudeville. It is said that, when one official saw Keaton in full costume and makeup and asked a stagehand how old he was, the stagehand then pointed to the boy's mother, saying, "I don't know, ask his wife!" According to one biographer, Keaton was made to go to school while performing in New York, but only attended for part of one day. Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater. Keaton stated that he learned to read and write late, and was taught by his mother. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film.

Although he did not see active combat, he served in World War I, during which time he suffered an ear infection that permanently impaired his hearing.

Silent film era

In February 1917, Keaton met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room, dismantled and reassembled it. With this rough understanding of the mechanics of the moving pictures, he returned the next day, camera in hand, asking for work. He was hired as a co-star and gag man, making his first appearance in ''The Butcher Boy''. Keaton later claimed that he was soon Arbuckle's second director and his entire gag department. Keaton and Arbuckle became close friends.

In 1920, ''The Saphead'' was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play, ''The New Henrietta'', which had already been filmed once under the title "The Lamb" with Douglas Fairbanks playing the lead. It is said to have been Fairbanks that recommended Keaton to take up the role for the remake five years later.

After Keaton's successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including ''One Week'' (1920), ''The Playhouse'' (1921), ''Cops'' (1922), and ''The Electric House'' (1922). Based on the success of these shorts, Keaton moved to full-length features. Keaton's writers included Clyde Bruckman and Jean Havez, but the most ingenious gags were often conceived by Keaton himself. Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen. But we had no luck with Keaton, because he thought up his best gags himself and we couldn't steal ''him!''" The more adventurous ideas called for dangerous stunts, also performed by Keaton at great physical risk. During the railroad water-tank scene in ''Sherlock Jr.'', Keaton broke his neck when he fell against a railroad track, but did not realize it until years afterward. A scene from ''Steamboat Bill Jr.'' required Keaton to run into the shot and stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton's character emerged unscathed, thanks to a single open window which passed directly over him. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of space around Keaton's body. The sequence became one of the iconic images of Keaton's career.

The film critic David Thomson later described Keaton's style of comedy: "Buster plainly is a man inclined towards a belief in nothing but mathematics and absurdity ... like a number that has always been searching for the right equation. Look at his face — as beautiful but as inhuman as a butterfly — and you see that utter failure to identify sentiment." Gilberto Perez describes "Keaton's genius as an actor to keep a face so nearly deadpan and yet render it, by subtle inflections, so vividly expressive of inner life. His large deep eyes are the most eloquent feature; with merely a stare he can convey a wide range of emotions, from longing to mistrust, from puzzlement to sorrow."

Aside from ''Steamboat Bill Jr.'' (1928), Keaton's most enduring feature-length films include ''Our Hospitality'' (1923), ''The Navigator'' (1924), ''Sherlock Jr.'' (1924), ''Seven Chances'' (1925), ''The Cameraman'' (1928), and ''The General'' (1927). ''The General'', set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's proudest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs". The fact that the heroes of the story were from the Confederate side may have also contributed to the film's unpopularity.

It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.

Marriages

In 1921, Keaton married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. During the first three years of the marriage, the couple had two sons, James (1922–2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer.

According to Keaton's autobiography, Natalie turned him out of their bedroom and sent detectives to follow him to see whom he was dating behind her back. Her extravagance was another factor in the breakdown of the marriage. During the 1920s, according to his autobiography, he dated actress Kathleen Key. When he ended the affair, Key flew into a rage and tore up his dressing room.

After attempts at reconciliation, Natalie divorced Keaton in 1932, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. The failure of his marriage, along with the loss of his independence as a filmmaker, led Keaton into a period of alcoholism.

During the height of his popularity, Keaton spent $300,000 to build a home in Beverly Hills, which was later owned by James Mason and Cary Grant. Keaton's "Italian Villa" can be seen in Keaton's film ''Parlor, Bedroom and Bath''. Keaton later said, "I took a lot of pratfalls to build that dump." Mason found numerous cans of rare Keaton films in the house in the 1950s; the films were quickly transferred by Raymond Rohauer to safety film before the original cellulose nitrate prints further deteriorated.

Keaton was at one point briefly institutionalized; however, according to the TCM documentary ''So Funny it Hurt'', Keaton escaped a straitjacket with tricks learned during his vaudeville days. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing (Keaton himself later called that period an "alcoholic blackout"). Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton.

In 1940, Keaton married Eleanor Norris (1918–1998), who was 23 years his junior. She has been credited with saving his life by stopping his heavy drinking, and helped to salvage his career. The marriage lasted until his death. Between 1947 and 1954, they appeared regularly in the Cirque Medrano in Paris as a double act. She came to know his routines so well that she often participated in them on TV revivals.

Sound era and television

Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input. For instance, the studio refused his request to make his early project, ''Spite Marriage'', as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. For the first time, Keaton was forced to use a stunt double during some of the more dangerous scenes, as MGM wanted badly to protect its investment. He also stopped directing, but continued to perform and made some of his most financially successful films for the studio. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, ''The Passionate Plumber'', ''Speak Easily'', and ''What! No Beer?'' The latter would be Keaton's last starring feature. The films proved popular. (Thirty years later, both Keaton and Durante had cameo parts in ''It's a Mad Mad Mad Mad World''.)

In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at time and shoot immediately after. This is discussed in the TCM documentary ''Buster Keaton: So Funny it Hurt'', with Keaton complaining about having to shoot lousy films not just once, but three times. His stage name in Spanish markets was ''Pamplinas'' ("Nonsense"), and his nickname was ''Cara de palo'' ("Wooden face").

Behind the scenes, Keaton's world was in chaos, with divorce proceedings and alcoholism contributing to production delays and unpleasant incidents at the studio. Keaton was so depleted during the production of 1933's ''What! No Beer?'' that MGM released him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, ''Le Roi des Champs-Élysées''. During this period, he made one other film in Europe, ''The Invader'' (released in America as ''An Old Spanish Custom'' in 1936).

Educational Pictures

Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself. The high point in the Educational series is ''Grand Slam Opera'', featuring Buster in his own screenplay as an amateur-hour contestant. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films ''At the Circus'' (1939) and ''Go West'' (1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television.

Columbia Pictures

In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick made most of these films resemble White's Three Stooges comedies. Keaton's personal favorite was the series' debut entry, ''Pest from the West'', a shorter, tighter remake of Keaton's little-viewed 1935 feature ''The Invader''; it was directed not by White but by Mack Sennett veteran Del Lord. Moviegoers and exhibitors welcomed Keaton's Columbia comedies, proving that the comedian had not lost his appeal. However, taken as a whole, Keaton's Columbia shorts rank as the worst comedies he made, an assessment he concurred with in his autobiography. The final entry was ''She's Oil Mine'', and Keaton swore he would never again "make another crummy two-reeler." He stuck to his word, and the Columbia entries would be his final starring series for any film studio.

1940s and feature films

Keaton's personal life had stabilized with his 1940 marriage, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in both "A" and "B" features. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures. He had cameos in such films as ''In the Good Old Summertime'' (1949), ''Sunset Boulevard'' (1950), and ''Around the World in Eighty Days'' (1956).

Keaton also had a small bit part as Jimmy The Crook near the beginning of the long, frantic chase scene in ''It's A Mad, Mad, Mad, Mad World'' (1963), directing Spencer Tracy's character, Captain C. G. Culpepper, in storing his police car in a shoreline garage. Keaton was given more screen time in ''A Funny Thing Happened on the Way to the Forum'' (1966). He also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's ''Limelight'' (1952), recalling the vaudeville of ''The Playhouse''. With the exception of ''Seeing Stars'', a minor publicity film produced in 1922, ''Limelight'' was the only time in which the two would ever appear together on film.

In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, ''The Ed Wynn Show'', which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.

1950s and television

In 1950, Keaton had a successful television series, ''The Buster Keaton Show'', which was broadcast live on a local Los Angeles station. An attempt to recreate the first series on film as ''Life with Buster Keaton'' (1951), which allowed the program to be broadcast nationwide, was less well-received. A theatrical feature film, ''The Misadventures of Buster Keaton'', was fashioned from the series. Keaton said he canceled the filmed series himself because he was unable to create enough fresh material to produce a new show each week. Keaton also appeared on Ed Wynn's variety show. At the age of 55, he successfully recreated one of the stunts of his youth, in which he propped one foot onto a table, then swung the second foot up next to it, and held the awkward position in midair for a moment before crashing to the stage floor. ''I've Got a Secret'' host Garry Moore recalled, "I asked (Keaton) how he did all those falls, and he said, 'I'll show you'. He opened his jacket and he was all bruised. So that's how he did it—it ''hurt''—but you had to care enough not to care."

Unlike his contemporary Harold Lloyd, who kept his films from being televised (and therefore became lesser known to today's audiences), Keaton's periodic television appearances helped to revive interest in his silent films in the 1950s and 1960s. In 1954, Keaton played his first television dramatic role in "The Awakening", an episode of the syndicated anthology series ''Douglas Fairbanks, Jr., Presents''. About this time, he also appeared on NBC's ''The Martha Raye Show''.

On April 3, 1957, Keaton was surprised by Ralph Edwards for the weekly NBC program ''This Is Your Life''. The half hour program, which also promoted the release of the biographical film ''The Buster Keaton Story'' with Donald O'Connor, summarized Keaton's life and career up to that point.

In December 1958, Keaton was a guest star as a hospital janitor who provides gifts to sick children in a special Christmas episode of ''The Donna Reed Show'' on ABC. The program was titled "A Very Merry Christmas". He returned to the program in 1965 in the episode "Now You See It, Now You Don't". The 1958 episode has been included in the DVD release of Donna Reed's television programs.

In August 1960, Keaton accepted the role of mute King Sextimus the Silent in the national touring company of ''Once Upon A Mattress'', a successful Broadway musical. Eleanor Keaton was cast in the chorus, and during rehearsals, she fielded questions directed at her husband, creating difficulties in communication. After a few days, Keaton warmed up to the rest of the cast with his "utterly delicious sense of humor", according to Fritzi Burr, who played opposite him as his wife Queen Aggravaine. When the tour landed in Los Angeles, Keaton invited the entire cast and crew to a spaghetti party at his Woodland Hills home, and entertained them by singing vaudeville songs.

In 1960, Keaton returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's ''The Adventures of Huckleberry Finn''. Much of the film was shot on location on the Sacramento River, which doubled for the Mississippi River setting of Twain's original book.

In 1961, he starred in ''The Twilight Zone'' episode "Once Upon a Time", which included both silent and sound sequences. Keaton played time traveler Mulligan, who traveled from 1890 to 1960, then back, by means of a special helmet.

Keaton also found steady work as an actor in TV commercials, including a popular series of silent ads for Simon Pure Beer in which he revisited some of the gags from his silent film days. In 1963, Keaton appeared in the episode "Think Mink" of ABC's ''Mr. Smith Goes to Washington'' sitcom, starring Fess Parker.

In 1964, Keaton appeared with Joan Blondell and Joe E. Brown in the final episode of ABC's circus drama, ''The Greatest Show on Earth'', starring Jack Palance. That same year, he appeared on Lucille Ball's CBS television show, ''The Lucy Show'', in an episode ("A Day in the Park") filmed in color but initially televised in black and white; this featured him sitting on a park bench, reading a newspaper, which he gradually unfolded into a huge, single sheet. Harvey Korman played a policeman in the scene.

At the age of 70, Keaton suggested that, for his appearance in the 1965 film ''Sergeant Deadhead'', he run past the end of a firehose into a six-foot-high flip and crash. When director Norman Taurog balked, expressing concerns for Keaton's health, Keaton said, "I won't hurt myself, Norm, I've done it for years!" Keaton also starred in three other films for American International Pictures (''Beach Blanket Bingo'', ''Pajama Party'', and ''How to Stuff a Wild Bikini'').

In 1965, Keaton starred in a short film called ''The Railrodder''for the National Film Board of Canada. Wearing his traditional porkpie hat, he travelled from one end of Canada to the other on a motorized handcar, performing gags similar to those in films he made 50 years before. The film is also notable for being Keaton's last silent screen performance. ''The Railrodder'' was made in tandem with a behind-the-scenes documentary about Keaton's life and times, called ''Buster Keaton Rides Again'', also made for the National Film Board. He played the central role in Samuel Beckett's ''Film'' (1965), directed by Alan Schneider. Also in 1965, he traveled to Italy to play a role in ''Due Marines e un Generale'', co-starring alongside with the famous Italian comedian duo of Franco Franchi and Ciccio Ingrassia.

Keaton's last film appearance was in ''A Funny Thing Happened on the Way to the Forum'' (1966) which was filmed in Spain in late 1965. He amazed the cast and crew by doing many of his own stunts, although Thames Television said his increasingly ill health did force the use of a stunt double for some scenes.

Death

Keaton died of lung cancer on February 1, 1966, in Woodland Hills, California. Despite being diagnosed with the terminal illness in January 1966, he was never told that he was terminally ill, and thought that he had bronchitis. Confined to a hospital during his final days for treatment, Keaton was restless and paced the room endlessly. In a British television documentary on his career, his widow Eleanor told producers of Thames Television that Keaton was up out of bed and moving around, and even played cards with friends who came to visit at their house the day before he died. Eleanor Keaton died in 1998, from emphysema and lung cancer, aged 80.

Influence and legacy

Keaton has two stars on the Hollywood Walk of Fame: 6619 Hollywood Boulevard (for motion pictures); and 6321 Hollywood Boulevard (for television).

A 1957 film biography, ''The Buster Keaton Story'', starred Donald O'Connor as Keaton. The screenplay, by Sidney Sheldon (who also directed the film), was vaguely based on his life, but contained many factual errors and merged his three wives into one character. Most of the story centered on his drinking problem, in the producer's attempt to imitate the success of ''I'll Cry Tomorrow'', a sudsy biography about another alcoholic celebrity (Lillian Roth). The 1987 documentary, ''Buster Keaton: A Hard Act to Follow'', which won two Emmy Awards and was directed by Kevin Brownlow and David Gill, is considered a much more accurate telling of Keaton’s story.

In 1994, caricaturist Al Hirschfeld penned a series of silent film stars for the United States Post Office, including Rudolph Valentino and Keaton. Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".

Keaton's physical comedy is cited by Jackie Chan in his autobiography documentary ''Jackie Chan: My Story'' as being the primary source of inspiration for his own brand of self-deprecating physical comedy.

Paul Merton often stated on his show ''Silent Clowns'' how influential and hilarious Buster Keaton was to fellow comedians.

Pork pie hats

Keaton designed and fabricated many of his own pork pie hats during his career. In 1964, he told an interviewer that in making the pork pie, he started with a good Stetson hat and cut it down, stiffening the brim with concentrated sugar water. The hats were often destroyed during Keaton's wild film antics; some were given away as gifts and some were snatched by souvenir hunters. Keaton said he was lucky if he used only six hats in making a film. Keaton estimated that he and his wife Eleanor made thousands of the hats during his career.

Keaton in music

In 1987 Italian singer-songwriters Claudio Lolli and Francesco Guccini wrote a song, ''Keaton'', about his work in Italy on the film ''Due Marines e un Generale''

Filmography

See also

Camille Keaton

References

Further reading

Agee, James, "Comedy's Greatest Era" from ''Life'' (September 5, 1949), reprinted in ''Agee on Film'' (1958) McDowell, Obolensky, (2000) Modern Library

Keaton, Buster (with Charles Samuels), ''My Wonderful World of Slapstick'' (1960) Doubleday, (1982) Da Capo Press ISBN 0-306-80178-7

Blesh, Rudi, ''Keaton'' (1966) The Macmillan Company ISBN 0-02-511570-7

Lahue, Kalton C., ''World of Laughter: The Motion Picture Comedy Short, 1910-1930'' (1966) University of Oklahoma Press

Lebel, Jean-Patrick, ''Buster Keaton'' (1967) A.S. Barnes

Brownlow, Kevin, "Buster Keaton" from ''The Parade’s Gone By'' (1968) Alfred A. Knopf, (1976) University of California Press

McCaffrey, Donald W., ''4 Great Comedians: Chaplin, Lloyd, Keaton, Langdon'' (1968) A.S. Barnes

Robinson, David, ''Buster Keaton'' (1969) Indiana University Press, in association with British Film Institute

Robinson, David, ''The Great Funnies: A History of Film Comedy'' (1969) E.P. Dutton

Durgnat, Raymond, "Self-Help with a Smile" from ''The Crazy Mirror: Hollywood Comedy and the American Image'' (1970) Dell

Maltin, Leonard, ''Selected Short Subjects'' (first published as ''The Great Movie Shorts'', 1972) Crown Books, (revised 1983) Da Capo Press

Gilliatt, Penelope, "Buster Keaton" from ''Unholy Fools: Wits, Comics, Disturbers of the Peace'' (1973) Viking

Mast, Gerald, ''The Comic Mind: Comedy and the Movies'' (1973, 2nd ed. 1979) University of Chicago Press

Kerr, Walter, ''The Silent Clowns'' (1975) Alfred A. Knopf, (1990) Da Capo Press ISBN 0-394-46907-0

Anobile, Richard J. (ed.), ''The Best of Buster: Classic Comedy Scenes Direct from the Films of Buster Keaton'' (1976) Crown Books

Yallop, David, ''The Day the Laughter Stopped: The True Story of Fatty Arbuckle'' (1976) St. Martin's Press

Byron, Stuart and Weis, Elizabeth (eds.), ''The National Society of Film Critics on Movie Comedy'' (1977) Grossman/Viking

Moews, Daniel, ''Keaton: The Silent Features Close Up'' (1977) University of California Press

Everson, William K., ''American Silent Film'' (1978) Oxford University Press

Maltin, Leonard, ''The Great Movie Comedians'' (1978) Crown Books

Dardis, Tom, ''Keaton: The Man Who Wouldn't Lie Down'' (1979) Scribners, (2004) Limelight Editions

Benayoun, Robert, ''The Look of Buster Keaton'' (1983) St. Martin's Press

Staveacre, Tony, ''Slapstick!: The Illustrated Story'' (1987) Angus & Robertson Publishers

Edmonds, Andy, ''Frame-Up!: The Shocking Scandal That Destroyed Hollywood's Biggest Comedy Star Roscoe "Fatty" Arbuckle'' (1992) Avon Books

Kline, Jim, ''The Complete Films of Buster Keaton'' (1993) Carol Pub. Group

Meade, Marion, ''Buster Keaton: Cut to the Chase'' (1995) HarperCollins

Rapf, Joanna E. and Green, Gary L., ''Buster Keaton: A Bio-Bibliography'' (1995) Greenwood Press

Oldham, Gabriella, ''Keaton's Silent Shorts: Beyond the Laughter'' (1996) Southern Illinois University Press

Horton, Andrew, ''Buster Keaton's Sherlock Jr.'' (1997) Cambridge University Press

Bengtson, John, ''Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton'' (1999) Santa Monica Press

Knopf, Robert, ''The Theater and Cinema of Buster Keaton'' (1999) Princeton University Press ISBN 0-69100-442-0

Keaton, Eleanor, ''Buster Keaton Remembered'' (2001) Harry N. Abrams ISBN 0-8109-4227-5

Mitchell, Glenn, ''A – Z of Silent Film Comedy'' (2003) B.T. Batsford Ltd.

McPherson, Edward, ''Buster Keaton: Tempest in a Flat Hat'' (2005) Newmarket Press ISBN 1-55704-665-4

Oderman, Stuart, ''Roscoe "Fatty" Arbuckle: A Biography of the Silent Film Comedian'' (2005) McFarland & Co.

Neibaur, James L., ''Arbuckle and Keaton: Their 14 Film Collaborations'' (2006) McFarland & Co.

Keaton, Buster, ''Buster Keaton: Interviews'' (Conversations with Filmmakers Series) (2007) University Press of Mississippi

Brighton, Catherine, ''Keep Your Eye on the Kid: The Early Years of Buster Keaton'' (2008) Roaring Brook Press (An illustrated children's book about Keaton's career)

Smith, Imogen Sara, ''Buster Keaton: The Persistence of Comedy'' (2008) Gambit Publishing ISBN 978-0967591742

Carroll, Noel, ''Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping'' (2009) Wiley-Blackwell

Neibaur, James L., ''The Fall of Buster Keaton: His Films for MGM, Educational Pictures, and Columbia'' (2010) Scarecrow Press

External links

The International Buster Keaton Society

Buster Keaton Museum

Buster Keaton and the Muskegon Connection

Buster Keaton in Five Easy Clips

Buster Keaton Photo Galleries (includes rare images of BK smiling and laughing)

Buster Keaton as a child performer(Univ. of Washington/ Sayre collection)

Category:Silent film directors Category:1895 births Category:1966 deaths Category:Academy Honorary Award recipients Category:Actors from Kansas Category:American film actors Category:American film directors Category:American silent film actors Category:Cancer deaths in California Category:Deaths from lung cancer Category:Mimes Category:People from Beverly Hills, California Category:People from Woodson County, Kansas Category:People self-identifying as alcoholics Category:Slapstick comedians Category:Silent film comedians Category:Ukulele players Category:Vaudeville performers Category:Short film directors

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Coordinates	35°0′41.69″N135°46′5.47″N
name	Andrew Bird
landscape	yes
background	solo_singer
born	July 11, 1973Chicago, IllinoisUnited States
instrument	Voice, whistling, violin, guitar, glockenspiel
genre	Indie rock, indie folk, folk rock, baroque pop
occupation	Musician, Songwriter
years active	1996–present
label	Rykodisc, Righteous Babe, Fat Possum, RCRD LBL, Bella Union, Earwig Music, Waterbug, Carrot Top, Delmark
associated acts	Andrew Bird's Bowl of Fire, Squirrel Nut Zippers, Kevin O'Donnells Quality Six
website	andrewbird.net
notable instruments	}}

Andrew Bird (born July 11, 1973) is an American musician, songwriter, and multi-instrumentalist.

History

Early life and the Bowl of Fire (1973–2002)

Trained in the Suzuki method from the age of four, Bird graduated from Lake Forest High School in 1991 and Northwestern University with a bachelor's degree in violin performance in 1996. That same year he self-released his first solo album, ''Music of Hair''. Vastly different from his later work, this album showcased his violin skills and paid tribute to his fascination with both American and European folk traditions, as well as jazz and blues. Following this, his initial commercial exposure came through collaborative work with the band Squirrel Nut Zippers, appearing on three of their albums (''Hot'', ''Sold Out'', and ''Perennial Favorites'') between 1996 and 1998.

Taking on the role of bandleader, Bird released ''Thrills'' on Rykodisc in 1997 with his group Andrew Bird's Bowl of Fire, shortly followed by second album ''Oh! The Grandeur'' in 1998. Both albums were heavily influenced by traditional folk, pre-war jazz, and swing, with Bird relying on the violin as his primary musical instrument, as well as providing vocals along with his trademark verbose lyrics. The Bowl of Fire featured musicians from Bird's home town of Chicago, including Kevin O'Donnell, Joshua Hirsch, Nora O'Connor, Andy Hopkins, Jimmy Sutton, Colin Bunn, and Ryan Hembrey. During this period, Andrew Bird was a member of the jazz group Kevin O'Donnells Quality Six, for which he was the lead singer and violinist and contributed to arrangements and songwriting for the albums ''Heretic Blues'' (Delmark 1999) and ''Control Freak'' (Delmark 2000) (both Delmark albums were produced by Raymond Salvatore Harmon).

In 2001, the Bowl of Fire released their third album, ''The Swimming Hour'', a dramatic departure from their previous recordings. It featured a mixture of styles, from the zydeco-influenced "Core and Rind" to more straightforward rock songs such as "11:11". Due to this eclectic nature, Bird has often referred to it as his "jukebox album". Although gaining critical praise (''The Swimming Hour'' received a 9.0 from indie music website Pitchfork), the band failed to attain commercial success or recognition, playing to audiences as small as 40 people. In 2002, Bird was asked to open for a band in his hometown of Chicago, but fellow Bowl of Fire members were unavailable for the date. The reluctant Bird performed the gig alone, and the surprising success of this solo show suggested potential new directions for his music.

Early solo career (2003–2005)

The Bowl of Fire unofficially disbanded in 2003, and Bird went on to radically re-invent himself as a solo artist. His two subsequent albums were released on Ani Difranco's Righteous Babe Records label. 2003's ''Weather Systems'' (originally released on Grimsey Records) was a sparse record with a dramatic change in musical direction. It featured the tracks "Skin" and "I", proto-versions of songs that would later become "Skin Is, My" (''The Mysterious Production of Eggs'') and "Imitosis" (''Armchair Apocrypha'').

''The Mysterious Production of Eggs'' (2005) continued a progression towards an eclectic indie–folk sound, and both records formed a stark stylistic break with Bird's earlier work, swapping the lush backing of a full band for carefully layered samples of sound constructed using multitrack recorders and loop pedals. As his sound changed, Bird made increasing use of guitar, glockenspiel, and whistling in his songwriting, in addition to his traditional violin and vocals.

Bird is noted for improvising and reworking his songs during live performance, as can be seen in his series of self-released live compilations entitled ''Fingerlings'', ''Fingerlings 2'', and ''Fingerlings 3'', the first of which was released in 2002. Each ''Fingerlings'' EP was released prior to a studio album, and presented a mixture of live performances from different shows, including old tracks, covers, and previously unreleased songs, some of which have since appeared on studio albums. ''Fingerlings 3'', released in October 2006, also featured studio outtakes. Fingerlings 2 provided Bird with an unexpected boost in recognition in 2004 when it was named album of the month by ''Mojo''.

In 2005, co-collaborator Martin Dosh joined Bird's line-up, adding percussion and keyboards to his sound. Jeremy Ylvisaker was later added to the group on bass and backup vocals.

Signed to Fat Possum Records (2006–present)

In September 2006, Bird signed to Fat Possum Records, and in March 2007 he released his third post-Bowl of Fire album, ''Armchair Apocrypha''. The album was recorded in collaboration with electronic musician Martin Dosh, and includes a track composed by Dosh (with lyrics by Bird) entitled "Simple X". This song first appeared without Bird's lyrics as "Simple Exercises" on Dosh's 2004 release ''Pure Trash''. The album was produced by Ben Durrant (who had worked on Dosh's ''The Lost Take''), and also featured Haley Bonar and Chris Morrissey. In advance of the March release date, ''Armchair Apocrypha'' was leaked to the Internet in January 2007. The album went on to sell over 100,000 copies.

As publicity for ''Armchair Apocrypha'', Bird made his network television debut on April 10, 2007, performing "Plasticities" (from the new album) on the ''Late Show with David Letterman''. He also appeared on ''Late Night with Conan O'Brien'' on June 14, 2007, performing "Imitosis" from the same album. In April 2007, he did a ''Take-Away Show'' acoustic video session shot by Vincent Moon. These appearances were accompanied by an extensive tour, which ended with sell-out performances at the Beacon Theater, New York and the Orpheum Theater, Los Angeles.

In January 2007, Andrew Bird made an appearance on the Noggin television network's ''Jack's Big Music Show'', playing the part of Dr. Stringz and appearing in order to mend a character's broken dulcimer. Bird sang a brief song called "Dr. Stringz", written specially for the show. He now often plays it live as an introduction to the song "Fake Palindromes".

On May 20, 2007, National Public Radio aired a live concert by Bird from Washington, D.C.'s 9:30 Club He also worked with Reverb, a non-profit environmental organization, for his 2007 spring tour.

Five of his songs — "Banking on a Myth" from "The Mysterious Production of Eggs," a medley of "I" from ''Weather Systems'' and "Imitosis" from "Armchair Apocrypha," and "Skin" and "Weather Systems" from ''Weather Systems'' — have been licensed for use by Marriott Residence Inn.

Since March 2008, Bird has contributed to "Measure for Measure," a ''New York Times'' blog in which musicians write about their songwriting process. In it, he has charted the development of the song "Oh No," previewing samples at various stages of development through to the finished album recording. He also discussed the conception of the song "Natural Disaster," the recording of instrumental piece "Hot Math," and previewed "Master Sigh." The first two songs were later released on Bird's 2009 album "Noble Beast," whilst the latter two appeared on its bonus disc "Useless Creatures."

In December 2008, Bird appeared in the second series of Nigel Godrich's ''From the Basement'' alongside Radiohead and Fleet Foxes. His performance included a preview of new song "Section 8 City," a ten minute re-imagining of "Sectionate City," which originally appeared on the "Soldier On EP."

Bird's fifth solo album, "Noble Beast," was released on January 20, 2009, and contained fourteen new songs, with bonus tracks available for download from iTunes and eMusic. "The Privateers" is a re-imagining of a very early song entitled "The Confession" from 1999's "Oh! The Grandeur." A limited deluxe edition of the album included alternate packaging and artwork, as well as an all-instrumental companion disc entitled "Useless Creatures." The entirety of "Useless Creatures" was made available via Bird's website during the run-up to the release. "Noble Beast" has been met with generally favourable reviews, receiving a score of 79 out of 100 from review collation site Metacritic.

In 2009, Bird contributed a cover of the song "The Giant of Illinois" to the HIV and AIDS benefit album "Dark Was the Night" produced by the Red Hot Organization. On May 11, 2009, Bird released the EP "Fitz and the Dizzy Spells." It contains "Fitz and the Dizzyspells" from "Noble Beast," as well as other songs from that album's recording sessions. Some of the songs on the EP were previously available for download from iTunes and eMusic as bonus tracks to "Noble Beast."

In 2010, Bird recorded with the Preservation Hall Jazz Band, contributing vocals and violin on a cover of "Shake It and Break It" on "Preservation: An Album to Benefit Preservation Hall & The Preservation Hall Music Outreach Program."

Influences

Growing up, Bird was surrounded by classical music. As a child, he was interested in Irish tunes and bluegrass. He also cites English and Scottish folk music as an early influence. His early jazz influences were Johnny Hodges, Lester Young, and Fats Waller. He has also had a number of classical influences such as Claude Debussy, Maurice Ravel, and Bela Bartok. Other influences included jazz, swing, calypso, and folk. Bird has stated that, at 22, he found a lot of indie rock and pop music repetitive and boring, but now understands it better.

Discography

Bowl of Fire albums

''Thrills'' (1998)

''Oh! The Grandeur'' (1999)

''The Swimming Hour'' (2001)

Solo albums

''Music of Hair'' (1996)

''Weather Systems'' (2003)

''Andrew Bird & the Mysterious Production of Eggs'' (2005)

''Armchair Apocrypha'' (2007, Fat Possum) #76 US

''Noble Beast'' (2009, Fat Possum) #12 US

Live albums

''Fingerlings'' (2002, Grimsey Records)

''Fingerlings 2'' (2004, Grimsey)

''Fingerlings 3'' (2006, Grimsey)

''Live In Montreal'' (2008, Bella Union)

''Fingerlings 4'' (2010, Wegawam Music Co.)

EPs and singles

''The Ballad of the Red Shoes'' (2002)

''Sovay'' (2005, Fargo Records) – single

''Live at Bonnaroo Music Festival'' (2006, Live at Bonnaroo Music Festival) – Live EP

''Soldier On'' (2007) – European tour EP

''Fitz and the Dizzy Spells'' (2009)

''Anonanimal'' (2009) – single

Other album appearances

Kiltartan Road – ''Joy to the Morning'' (1995)

Kat Eggleston – ''Outside Eden'' (1996, Waterbug Records)

Lil Ed and Dave Weld with The Imperial Flames – ''Keep On Walkin''' (1996, Earwig Music)

Andrew Calhoun – ''Phoenix Envy'' (1996, Earwig Music)

Charlie Nobody – ''Soup'' (1996)

Squirrel Nut Zippers – ''Hot'' (1996, Mammoth Records)

Squirrel Nut Zippers – ''Perennial Favorites'' (1998, Mammoth)

Rose Polenzani – ''Dragersville'' (1998, The Orchard)

Pinetop Seven – ''Rigging the Toplights'' (1998)

Extra Virgin – ''Twelve Stories High'' (1999)

Kevin O'Donnell – ''Heretic Blues'' (1999, Delmark Records)

Andrew Calhoun – ''Where Blue Meets Blue'' (1999, Waterbug)

Sally Timms – ''Cowboy Sally's Twilight Laments for Lost Buckaroos'' (1999, Bloodshot Records)

Squirrel Nut Zippers – ''Bedlam Ballroom'' (2000, Hollywood Records)

The Blacks – ''Just Like Home'' (2000, Bloodshot)

The Handsome Family – ''In the Air'' (2000, Carrot Top Records)

Devil in a Woodpile – ''Division Street'' (2000, Bloodshot)

Kevin O'Donnell – ''Control Freak'' (2000 · Delmark Records)

Neko Case – ''Canadian Amp'' (2001)

The Verve Pipe – ''Underneath'' (2001, RCA Records)

Jenny Toomey – ''Antidote'' (2001, Misra Records)

Kelly Hogan – ''Because It Feel Good'' (2001, Bloodshot)

Sinister Luck Ensemble – ''Anniversary'' (2002, Perishable Records)

Abandon Jalopy – ''Mercy'' (2002)

''WYEP Live and Direct: Volume 4 - On Air Performances'' - "Core and Rind" (2002)

Kristin Hersh – ''The Grotto'' (2003)

The Autumn Defense – ''Circles'' (2003, Arena Rock Recording Co.)

Bonnie 'Prince' Billy – ''Sings Greatest Palace Music'' (2004, Drag City)

Bobby Bare, Jr. – ''From the End of Your Leash'' (2004, Bloodshot)

Nora O'Connor – ''Til the Dawn'' (2004, Bloodshot)

Ani DiFranco – ''Knuckle Down'' (2005, Righteous Babe Records)

My Morning Jacket – ''Z'' (2005, ATO Records)

Bobby Bare – ''The Moon Was Blue'' (2005, Dualtone Music Group)

Emily Loizeau – ''London Town'' (in French and English) (2006)

Dosh – ''The Lost Take'' (2006, anticon.)

Candi Staton – ''His Hands'' (2006, Astralwerks)

Magnolia Electric Co. – ''The Black Ram'' (2007, Secretly Canadian)

KFOG Live From the Archives Volume 14 – (2007)

''Song of America'' - "How You Gonna Keep 'Em Down On the Farm" (2007, Split Rock Records/Thirty One Tigers)

Charlie Louvin - "Sings Murder Ballads and Disaster Songs" (2008, Tompkins Square)

Todd Sickafoose - "Tiny Resistors" (2008, Cryptogramophone)

Dosh – Wolves and Wishes (2008, anticon.)

Final Fantasy – ''Plays to Please'' (2008, Blocks Recording Club)

Dianogah – ''Qhnnnl'' (2008, Southern Records)

Loney, Dear - ''Dear John'' (2009)

Dark Was the Night – "The Giant of Illinois" (Red Hot Organization, 2009)

Live at KEXP Vol.5- ''Oh No'' (2009)

Thao with the Get Down Stay Down - ''Know Better Learn Faster'' (2009, Kill Rock Stars)

Dosh – Tommy

Twistable Turnable Man: A Musical Tribute to Shel Silverstein - ''The Twistable, Turnable Man Returns'' (2010, Sugar Hill Records)

''Muppets: The Green Album'' - "'Bein' Green'" (2011, Walt Disney Records)

References

External links

Official site

Andrew Bird collection at the Internet Archive's live music archive

TED talks

Category:Fingerstyle guitarists Category:American fiddlers Category:American multi-instrumentalists Category:American rock guitarists Category:American singer-songwriters Category:People from Chicago, Illinois Category:Northwestern University alumni Category:Old Town School of Folk musicians Category:People from Jo Daviess County, Illinois Category:Fat Possum Records artists Category:Retro-swing musicians Category:Whistlers Category:Righteous Babe artists Category:Bienen School of Music alumni Category:Living people Category:1973 births Category:Rykodisc artists Category:Live Music Archive artists

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