Sixth can refer to:

• The ordinal form of the number six
• Sixth Amendment to the U.S. Constitution
• A keg of beer equal to 5 U.S. gallons or 1/6 barrel of beer.
• A fraction, such as 1/6

Music[link]

• Interval
• Major sixth
• Minor sixth

The submediant, and the chord built on the submediant, is often simply called the sixth as it is the sixth scale degree.

The note of a chord forming the interval of a sixth with the chord's root, such as in the chords G6 or G6 added 9, is known as the sixth of the chord.

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Pranav Mistry (b. 1981 in Palanpur, India) is an Indian inventor and Computer Scientist. At present, he is a research assistant and a PhD candidate at MIT Media Lab.

Before joining MIT Pranav worked as a UX Researcher with Microsoft. Pranav holds a Master in Media Arts and Sciences from MIT and Master of Design from Industrial Design Center, IIT Bombay. He has completed bachelors’ degree in Computer Science and Engineering. ^[1] He is from Palanpur, which is situated in northern Gujarat in India. Mistry is best known for his work on SixthSense.^[2][3][4] Among some of his other work, Pranav has invented Mouseless – an invisible computer mouse; SPARSH – a novel way to copy-paste data between digital devices; Quickies – intelligent sticky notes that can be searched, located and can send reminders and messages; Blinkbot - a gaze and blink controlled robot; a pen that can draw in 3D; and a public map that can act as Google of physical world. Pranav’s research interests include Augmented reality, Ubiquitous computing, Gestural interaction, AI, , Machine vision, Collective intelligence and Robotics.

Pranav's research on SixthSense was awarded the 2009 Invention Award by Popular Science.^[2] He was also named to the MIT Technology Review TR35 as one of the top 35 innovators in the world under the age of 35.^[5] In 2010, he was named to Creativity Magazine's Creativity 50.^[6] Mistry has been called "one of ten, best inventors in the world right now"^[7] by Chris Anderson. Mistry has been listed as one of the 15 Asian Scientists To Watch by Asian Scientist Magazine on 15 May 2011. ^[8] GQ India listed Pranav as one of the most powerful Digital Indians.^[9][10]

Awards and Achievements[link]

• Winner of TR35 2009 award, Technology Review^[5]
• Winner of Invention of the Year award, Popular Science^[2]
• Winner of Young Indian Innovator 2009 award, Digit Magazine^{[citation needed]}
• Speaker for TED 2009 talk, TED 2009, Long Beach, CA^[11]
• 2010 Creativity 50 recipient^[6]

References[link]

External links[link]

• Pranav Mistry's personal homepage
• Pranav Mistry at MIT
• Pranav Mistry at TED Conferences

This article about an Indian scientist is a stub. You can help Wikipedia by expanding it. v t e

Louisa Lynthia Mark, also known as 'Markswoman' (11 January 1960 – 17 October 2009) was a British lovers rock singer, best known for her work between the mid 1970s and early 1980s.^[1] Her 1975 single "Caught You in a Lie" is regarded as the first lovers rock single.

Biography[link]

Mark was born in Kensal Rise, London to Grenadian immigrant parents,^[1] and grew up in Shepherd's Bush. She had her introduction to the music business initially by working as guest vocalist on Dennis Bovell's Sufferer sound system, followed by a residency at the Metro club in Westbourne Park, and via "Star Search" talent contests held at the Four Aces club in Dalston, where she won for ten consecutive weeks.^[1][2] Sound-system operator and record producer Lloyd Coxsone provided dub plates for the contestants to sing over at the contests and, in late 1974, provided the fifteen-year old Mark with her first recording session, at Gooseberry Studios, where she recorded a cover version of Robert Parker's "Caught You in a Lie", on which she was backed by Matumbi, the single also being released in Jamaica by Gussie Clarke.^[2][3] "Caught You in a Lie" is considered the first lovers rock single.^[3][4] It gave her an instant hit with reggae audiences, and was followed by a version of The Beatles' "All My Loving".^[2] Her career was interrupted after a dispute with Coxsone and she concentrated on finishing her studies.^[1]

After leaving school, Mark resumed her musical career working with Trojan Records house producer and A&R manager Clement Bushay, and songwriter/arranger Joseph "Tunga" Charles (of Zabandis), releasing "Keep it Like It Is". She stayed with Bushay for further releases on his own Bushays label including her rendition of Michael Jackson's "Even Though You're Gone", "Six Sixth Street", and her debut album Breakout (1981).^[2] She was unhappy with the album, feeling that it had been released before it had been properly finished, and did not record again for over a year. Mark returned to the studio in 1982, recording "Mum and Dad" (arranged by Sly & Robbie).

Mark was voted Artist of The Year in the 1978 Reggae Awards (UK).^[1]

Death[link]

On the 18 October 2009 edition of his BBC London radio show, Dotun Adebayo reported that Mark had died of poisoning in Gambia, where she had been residing. Adebayo owned property in Gambia and was married to Mark's friend, and fellow singer, Carroll Thompson.^[5] This led to further widespread unconfirmed reports.

On 20 October 2009, Trojan Records confirmed the story, stating cause of death was a stomach ulcer.^[6][7][8]

Discography[link]

Albums[link]

• Breakout (1981), Bushays

Singles[link]

• "Caught You in a Lie" (1975), Safari - 7"
• "All My Loving" (1975), Safari - 7"
• "Even Though You're Gone" (1978), Bushays - 12"
• "Six Sixth Street" (1978), Bushays
• "Caught You in a Lie" (1979), Voyage International - 12", B-side by Clinton Grant
• "People in Love" (1980), Radic - 12"
• "All My Loving (19??), Voyage International - 7"
• "Caught You in a Lie" (1984), Code - 12"
• "Hello There" (1984), Oak Sound - 12", Louisa Mark & Zabandis
• "Mum and Dad" (1982), Bushays, 12"
• "Keep It Like It Is" (1986), Trojan - 7"/12"
• "Reunited" b/w "Reunited Stepping Out" with Kevin & The Bushrangers, Bushays, BFM 113, 12"
• "Foolish Fool", Sky Note, 12"

References[link]

Ingrid Bergman
Ingrid Bergman, 1940
Born	(1915-08-29)29 August 1915 Stockholm, Sweden
Died	29 August 1982(1982-08-29) (aged 67) London, England
Occupation	Actress
Years active	1934–82
Spouse	Petter Aron Lindström (m. 1937–1950) «start: (1937)–end+1: (1951)»"Marriage: Petter Aron Lindström to Ingrid Bergman" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Ingrid_Bergman) Roberto Rossellini (m. 1950–1957) «start: (1950)–end+1: (1958)»"Marriage: Roberto Rossellini to Ingrid Bergman" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Ingrid_Bergman) Lars Schmidt (m. 1958–1975) «start: (1958)–end+1: (1976)»"Marriage: Lars Schmidt to Ingrid Bergman" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Ingrid_Bergman)
Children	Pia Lindström, born on (1938-09-20) 20 September 1938 (age 73) Robertino "Robin" Rossellini, born on (1950-02-02) 2 February 1950 (age 62) Isabella Rossellini, born on (1952-06-18) 18 June 1952 (age 60) Isotta Ingrid Rossellini, born on (1952-06-18) 18 June 1952 (age 60)

Ingrid Bergman (29 August 1915 – 29 August 1982) was a Swedish actress who starred in a variety of European and American films.^[1] She won three Academy Awards, two Emmy Awards, and the Tony Award for Best Actress. She is ranked as the fourth greatest female star of American cinema of all time by the American Film Institute. She is best remembered for her roles as Ilsa Lund in Casablanca (1942), a World War II drama co-starring Humphrey Bogart and as Alicia Huberman in Notorious (1946), an Alfred Hitchcock thriller co-starring Cary Grant.^[2]

Before becoming a star in American films, she had already been a leading actress in Swedish films. Her first introduction to American audiences came with her starring role in the English remake of Intermezzo in 1939. In America, she brought to the screen a "Nordic freshness and vitality", along with exceptional beauty and intelligence, and according to the St. James Encyclopedia of Popular Culture, she quickly became "the ideal of American womanhood" and one of Hollywood's greatest leading actresses.^[3]

After her excellent performance in Victor Fleming's remake of Dr. Jekyll and Mr. Hyde in 1941, she was noticed by her future producer David O. Selznick, who called her "the most completely conscientious actress" he had ever worked with. He gave her a seven-year acting contract, thereby supporting her continued success. A few of her other starring roles, besides Casablanca, included For Whom the Bell Tolls (1943), Gaslight (1944), The Bells of St. Mary's (1945), Alfred Hitchcock's Spellbound (1945), Notorious (1946), and Under Capricorn (1949), and the independent production, Joan of Arc (1948).

In 1950, after a decade of stardom in American films, she starred in the Italian film Stromboli, which led to a love affair with director Roberto Rossellini while they were both already married. The affair and then marriage with Rossellini created a scandal that forced her to remain in Europe until 1956, when she made a successful Hollywood return in Anastasia, for which she won her second Academy Award, as well as the forgiveness of her fans. Many of her personal and film documents can be seen in the Wesleyan University Cinema Archives.^[4]

Early years: 1915–1938[link]

Ingrid Bergman at 14

Bergman, named after Princess Ingrid of Sweden, was born in Stockholm, Sweden on 29 August 1915 to a Swedish father, Justus Samuel Bergman, and a German mother, Friedel (Adler) Bergman.^[5] When she was three years of age, her mother died. Her father, who was an artist and photographer, died when she was thirteen. In the years before he died, he wanted her to become an opera star, and had her take voice lessons for three years. But she always "knew from the beginning that she wanted to be an actress", sometimes wearing her mother's clothes and staging plays in her father's empty studio. Her father documented all her birthdays with a borrowed camera.^[6]

Her first film, Munkbrogreven (1934) at age 19.

After his death, she was then sent to live with an aunt, who died of heart complications only six months later. She then moved in with her Aunt Hulda and Uncle Otto, who had five children. Another aunt she visited, Elsa Adler, first told Ingrid, when she was 11, that her mother may have "some Jewish blood", and that her father was aware of that fact long before they married. But her aunt also cautioned her about telling others about her possible ancestry as "there might be some difficult times coming."^[5]:294

At the age of 17, Bergman was allowed only one chance to become an actress by entering an acting competition with the Royal Dramatic Theatre in Stockholm.^[5]:30–31 Bergman recalls her feelings during that competition:

"As I walked off the stage, I was in mourning, I was at a funeral. My own. It was the death of my creative self. My heart had truly broken... they didn't think I was even worth listening to, or watching."

However, her impression was wrong, as she later met one of the judges who described how the others viewed her performance:

"We loved your security and your impertinence. We loved you and told each other that there was no reason to waste time as there were dozens of other entrants still to come. We didn't need to waste any time with you. We knew you were a natural and great. Your future as an actress was settled."^[5]:31–33

As a result she received a scholarship to the state-sponsored Royal Dramatic Theatre School, where Greta Garbo had years earlier also earned a similar scholarship. After a few months she was given a part in a new play, Ett Brott (A Crime), by Sigfrid Siwertz. Yet, this was "totally against procedure" at the school, notes Chandler, where girls were expected to complete three years of study before getting such acting roles.^[5]:33 During her first summer break, she was also hired by a Swedish film studio, which consequently led to her leaving the Royal Dramatic Theatre to work in films full time, after just one year. Her first film role after leaving the Royal Dramatic Theatre was a small part in 1935's Munkbrogreven (She had previously been an extra in the 1932 film Landskamp). She later acted in a dozen films in Sweden, including En kvinnas ansikte, which was later remade as A Woman's Face with Joan Crawford, and one film in Germany, Die vier Gesellen ("The Four Companions") (1938).

Hollywood period: 1939–1949[link]

[edit] Intermezzo: A Love Story (1939)

Bergman's first acting role in America came when Hollywood producer David O. Selznick brought her to America to star in Intermezzo: A Love Story, an English language remake of her 1936 Swedish film, Intermezzo. Unable to speak English and uncertain about her acceptance by the American audience, she expected to complete this one film and return home to Sweden. Her husband, Petter, remained in Sweden with their daughter Pia.^[5]:63 In the film she played the role of a young piano accompanist opposite Leslie Howard as a famous violin virtuoso.

She arrived in Los Angeles on 6 May 1939, and stayed at the Selznick home until she could find another residence. According to David Selznick's son Danny, who was a child at the time, his father had a few concerns about Ingrid: "She didn't speak English, she was too tall, her name sounded too German, and her eyebrows were too thick." However, Bergman was soon accepted without having to modify her looks or name, despite some early suggestions by Selznick.^[5]:6 "He let her have her way", notes a story in Life Magazine. Selznick understood her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize, and "instructed them to lay off." He was also aware that her natural good looks would compete successfully with Hollywood's "synthetic razzle-dazzle."^[6]

During the weeks following, while Intermezzo was being filmed, Selznick was also filming Gone with the Wind. In a letter to William Herbert, his publicity director, Selznick described a few of his early impressions of Bergman:

"Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture ... She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o'clock or anything of the kind... Because of having four stars acting in Gone with the Wind, our star dressing-room suites were all occupied and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life... All of this is completely unaffected and completely unique and I should think would make a grand angle of approach to her publicity... so that her natural sweetness and consideration and conscientiousness become something of a legend... and is completely in keeping with the fresh and pure personality and appearance which caused me to sign her..." ^{[7]:135–136}

With Humphrey Bogart in Casablanca

Intermezzo became an enormous success and as a result Bergman became a star. The film's director, Gregory Ratoff, said "She is sensational", as an actress. This was the "sentiment of the entire set", writes Life, adding that workmen would go out of their way to do things for her, and the cast and crew "admired the quick, alert concentration she gave to direction and to her lines."^[6] Film historian David Thomson notes that this would become "the start of an astonishing impact on Hollywood and America" where her lack of makeup contributed to an "air of nobility." According to Life, the impression that she left on Hollywood, after she returned to Sweden, was of a tall (5 ft. 9 in.)^[8] girl "with light brown hair and blue eyes who was painfully shy but friendly, with a warm, straight, quick smile."^[6] Selznick appreciated her uniqueness, and with his wife Irene, they remained important friends throughout her career.^[9]:76

[edit] Casablanca (1942)

After Germany initiated World War II, Bergman "felt guilty because she had so misjudged the situation in Germany" while she was there filming Die vier Gesellen (The Four Companions). According to one of her biographers, Charlotte Chandler (2007), she had at first considered the Nazis only a "temporary aberration, 'too foolish to be taken seriously.' She believed Germany would not start a war." Bergman felt that "The good people there would not permit it." Chandler adds, "Ingrid felt guilty all the rest of her life because when she was in Germany at the end of the war, she had been afraid to go with the others to witness the atrocities of the Nazi extermination camps."^{[5]:293–295}

After completing one last film in Sweden and appearing in three moderately successful films (Adam Had Four Sons, Rage in Heaven and Dr. Jekyll and Mr. Hyde, all in 1941) in the United States, Bergman co-starred with Humphrey Bogart in the 1942 classic film Casablanca, which remains her best-known role. In this film, she played the role of Ilsa, the beautiful Norwegian wife of Victor Laszlo, played by Paul Henreid, an "anti-Nazi underground hero" who is in Casablanca, a safe-haven from the Nazis.^[5] Bergman did not consider Casablanca to be one of her favorite performances. "I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart."^[10] In later years however, she stated, "I feel about Casablanca that it has a life of its own. There is something mystical about it. It seems to have filled a need, a need that was there before the film, a need that the film filled."^[5]:88

[edit] For Whom the Bell Tolls (1943)

After Casablanca, with "Selznick's steady boosting", she played the part of Maria in For Whom the Bell Tolls (1943), which was also her first color film. For the role she received her first Academy Award nomination for Best Actress. The film was taken from Ernest Hemingway's novel of the same title. When the book was sold to Paramount Pictures, Hemingway stated that "Miss Bergman, and no one else should play the part." His opinion came from seeing her in her first American role, Intermezzo, although he hadn't yet met her. A few weeks later, they did meet, and after studying her he said "You are Maria!"^[6]

[edit] Gaslight (1944)

With Cary Grant in Notorious

The following year, she won the Academy Award for Best Actress for Gaslight (1944), a film in which George Cukor directed her as a "wife driven close to madness" by co-star Charles Boyer. The film, according to Thomson, "was the peak of her Hollywood glory."^[9]:77 Bergman next played a nun in The Bells of St. Mary's (1945) opposite Bing Crosby, for which she received her third consecutive nomination for Best Actress.

Hitchcock films[link]

Bergman starred in the Alfred Hitchcock films Spellbound (1945), Notorious (1946), and Under Capricorn (1949). Unlike her earlier Hitchcock films, Under Capricorn, the only one of the three made in colour, was a slow-paced costume drama, and has never received the acclaim that the other films that Bergman made with Hitchcock have. Bergman was a student of the acting coach Michael Chekhov during the 1940s. Coincidentally, it was for his role in Spellbound that Chekhov received his only Academy Award nomination.^[11]

[edit] Joan of Arc (1948)

Later, Bergman received another Best Actress nomination for Joan of Arc (1948), an independent film based on the Maxwell Anderson play Joan of Lorraine, produced by Walter Wanger, and initially released through RKO. Bergman had championed the role since her arrival in Hollywood, which was one of the reasons she had played it on the Broadway stage in Anderson's play. The film was not a big hit with the public, partly because of the scandal of Bergman's affair with Italian film director Roberto Rossellini, which broke while the film was still in theatres. Even worse, it received disastrous reviews, and although nominated for several Academy Awards, did not receive a Best Picture nomination. It was subsequently shorn of 45 minutes, and it was not until its restoration to full length in 1998 and its 2004 appearance on DVD that later audiences could see it as it was intended to be shown.

Between motion pictures, Bergman appeared in the stage plays Liliom, Anna Christie, and Joan of Lorraine. Furthermore, during a press conference in Washington, D.C. for the promotion of Joan of Lorraine, she protested against segregation after seeing it first hand at the theater she was acting in. This led to a lot of publicity and some hate mail.

Bergman went to Alaska during World War II to entertain American troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war. It was during this time that she began a relationship with the famous photographer Robert Capa. She became a smoker after needing to smoke for her role in Arch of Triumph.

Personal life[link]

In 1937, at the age of 21, Bergman married dentist Petter Lindström, and a year and a half later had a daughter, Pia Lindström.

After returning to America in 1940, she acted on Broadway before continuing to do films in Hollywood. The following year, her husband arrived from Sweden with daughter Pia. Lindström stayed in Rochester, New York, where he studied medicine and surgery at the University of Rochester. Bergman would travel to New York and stay at their small rented stucco house between films, her visits lasting from a few days to four months.^[6]

According to a Life magazine article, the "doctor regards himself as the undisputed head of the family, an idea that Ingrid accepts cheerfully." He insisted she draw the line between her film and personal life, as he has a "professional dislike for being associated with the tinseled glamor of Hollywood." Lindström later moved to San Francisco, California, where he completed his internship at a private hospital, and they continued to spend time together when she could travel between filmings.^[6]

Italian period with Rossellini: 1949–1957[link]

in Fear (1954)

Bergman strongly admired two films by Italian director Roberto Rossellini that she had seen in the United States. In 1949, Bergman wrote to Rossellini, expressing this admiration and suggesting that she make a film with him. This led to her being cast in his film Stromboli (1950). During production, Bergman fell in love with Rossellini, and they began an affair. Bergman became pregnant with their son, Renato Roberto Ranaldo Giusto Giuseppe ("Robin") Rossellini (born 2 February 1950).^[12]:18

This affair caused a huge scandal in the United States, where it led to Bergman being denounced on the floor of the United States Senate. Ed Sullivan chose not to have her on his show, despite a poll indicating that the public wanted her to appear.^[13] However, Steve Allen, whose show was equally popular, did have her on, later explaining "the danger of trying to judge artistic activity through the prism of one's personal life."^[13] Spoto notes that Bergman had, by virtue of her roles and screen persona, placed herself "above all that". She had played a nun in The Bells of St. Mary's (1945) and a virgin saint in Joan of Arc (1948), and Bergman herself later acknowledged, "People saw me in Joan of Arc and declared me a saint. I'm not. I'm just a woman, another human being."^[14]:300

As a result of the scandal, Bergman returned to Italy, leaving her husband and daughter (Pia), which led to a publicized divorce and custody battle for their daughter. Bergman and Rossellini were married on 24 May 1950. In addition to Renato, they had twin daughters (born 18 June 1952): Isabella Rossellini, who became an actress and model, and Isotta Ingrid Rossellini, who became a professor of Italian literature.

[edit] Stromboli and "neorealism"

With husband Roberto Rossellini in 1951

Rossellini completed five films starring Bergman between 1949 and 1955: Stromboli, Europa '51, Viaggio in Italia, Giovanna d'Arco al rogo, and La paura.

He also directed her in a brief segment of his 1953 documentary film, Siamo donne (We, the Women), which was devoted to film actresses.^[12]:18 Rossellini biographer Peter Bondanella notes that problems with communication during their marriage may have inspired his films' central themes of "solitude, grace and spirituality in a world without moral values."^[12]:19

Memorial plaque on the house in Stromboli where Ingrid Bergman and Roberto Rossellini lived during filming of "Stromboli" in 1949

In addition, Rossellini's use of a Hollywood star in his typically "neorealist" films, in which he normally used non-professional actors, did provoke negative reactions in some circles. Bondanella speculates that this change may have been intentional: he may have "intended to provoke a significant change in direction within Italian cinema." In Stromboli, Bergman's first film with Rossellini, her character was "defying audience expectations" in that Rossellini preferred to work without a script. This forced Bergman to act most of her scenes "inspired by reality while she worked", a style which Bondanella calls "a new cinema of psychological introspection."^[12]:98 She was aware of his directing style before filming however, as Rossellini had earlier written her explaining that he worked from "a few basic ideas, developing them little by little" as a film progressed.^[12]:19

After separating from Rossellini, Bergman starred in Jean Renoir's Elena and Her Men (Elena et les Hommes, 1956), a romantic comedy where she played a Polish princess caught in political intrigue. Although the film wasn't a success, it has since come to be regarded as one of her best performances.

Later years: 1957–1982[link]

[edit] Anastasia (1956)

With her starring role in 1956's Anastasia, Bergman made a triumphant return to the American screen and won the Academy Award for Best Actress for a second time. The award was accepted for her by her friend Cary Grant.^[15] Bergman would not make her first post-scandal public appearance in Hollywood until the 1958 Academy Awards, when she was the presenter of the Academy Award for Best Picture.^[16] Furthermore, she was given a standing ovation, after being introduced by Cary Grant and walking out onto the stage to present the award.

Bergman would continue to alternate between performances in American and European films for the rest of her career and also made occasional appearances in television dramas such as a 1959 production of The Turn of the Screw for Ford Startime TV series for which she won an Emmy Award for Outstanding Single Performance by an Actress.

During this time, Bergman also performed in several stage plays. In addition, she married the producer Lars Schmidt, a fellow Swede, on 21 December 1958. This marriage ultimately ended in divorce in 1975. He died on 18 October 2009.

After a long hiatus, Bergman did the movie Cactus Flower in 1969, with Walter Matthau and Goldie Hawn.

In 1972, U.S. Senator Charles H. Percy entered an apology into the Congressional Record for the attack made on Bergman 22 years earlier by Edwin C. Johnson. She was the President of the Jury at the 1973 Cannes Film Festival.^[17]

[edit] Murder on the Orient Express (1974)

Bergman became one of the elite actresses to receive three Oscars when she won her third (and first for Best Supporting Actress) for her performance in Murder on the Orient Express (1974). Director Sidney Lumet offered Bergman the important part of Princess Dragomiroff, with which he felt she could win an Oscar. However, she insisted on playing the much smaller role of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:

"She had chosen a very small part, and I couldn't persuade her to change her mind. She was sweetly stubborn. But stubborn she was... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea and made the most of it. She ran the gamut of emotions. I've never seen anything like it."^{[5]:246–247}

Bergman could speak Swedish (her native language), German (her second language, learned from her German mother and in school), English (learned when brought over to the United States), Italian (learned while living in Italy)^[18] and French (her third language, learned in school). In addition, she acted in each of these languages at various times. Fellow actor John Gielgud, who had acted with her in Murder on the Orient Express and who had directed her in the play The Constant Wife, playfully mocked this ability when he remarked, "She speaks five languages and can't act in any of them."^[19]

Although known chiefly as a film star, Bergman strongly admired the great English stage actors and their craft. She had the opportunity to appear in London's West End, working with such stage stars as Sir Michael Redgrave in A Month in the Country (1965), Sir John Gielgud in The Constant Wife (1973) and Dame Wendy Hiller in Waters of the Moon (1977–78).

[edit] Autumn Sonata (1978)

In 1978, Bergman played in Ingmar Bergman's Autumn Sonata (Höstsonaten) for which she received her 7th Academy Award nomination and made her final performance on the big screen. In the film, Bergman plays a celebrity pianist who travels to Norway to visit her neglected daughter, played by Liv Ullmann. The film was shot in Norway. It is considered by many to be among her best performances.^{[citation needed]}

In 1979, Bergman hosted the AFI's Life Achievement Award Ceremony for Alfred Hitchcock.^[20]

[edit] A Woman Called Golda (1982) – her final role

In 1982 she was offered the starring role in a television mini-series, A Woman Called Golda, about the late Israeli prime minister Golda Meir. It was to be her final acting role and she was honored posthumously with a second Emmy Award for Best Actress.

At first, she couldn't imagine herself acting the part of a well-known world figure whose physical appearance, especially her height, was so different from her own. Her daughter, Isabella, described Ingrid's surprise at being offered the part and the producer trying to explain to her, "People believe you and trust you, and this is what I want, because Golda Meir had the trust of the people." Isabella adds, "Now that was interesting to mother." She was also persuaded that Golda was a "grand-scale person", one that people would assume was much taller than she actually was. Chandler notes that the role "also had a special significance for her, as during World War II, Ingrid felt guilty because she had so misjudged the situation in Germany."^[5]:293

According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance for Ingrid was impossible. Not only did she have cancer, but it was spreading, and if anyone had known how bad it was, no one would have gone on with the project." After viewing the series on TV, Isabella commented,

"She never showed herself like that in life. In life, Mum showed courage. She was always a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda, I was surprised to see it... When I saw her performance, I saw a mother that I'd never seen before—this woman with balls."^[5]:290

Ingrid was frequently ill during the filming although she rarely complained or showed it. Four months after the filming was completed, she died. After Ingrid's death it was her daughter Pia who accepted her Emmy.^[5]:296

Death and legacy[link]

Ingrid Bergman's grave at Norra begravningsplatsen.

Bergman died in 1982 on her 67th birthday in London, England, following a long battle with breast cancer. Her body was cremated at Kensal Green Cemetery, London and her ashes taken to Sweden, where most of her ashes were scattered in the sea around the islet of Dannholmen off the fishing village of Fjällbacka in Bohuslän, on the west coast of Sweden, where she spent most summers from 1958 to her death in 1982, and the rest placed next to her parents in Norra begravningsplatsen (Northern Cemetery), Stockholm, Sweden.

According to biographer Donald Spoto, she was "arguably the most international star in the history of entertainment." Acting in five languages, she was seen on stage, screen and television, and won three Academy Awards plus many others.^[14] After her American film debut in the 1939 film Intermezzo: A Love Story, co-starring Leslie Howard, Hollywood saw her as a unique actress who was completely natural in style and without need of makeup. Film critic James Agee wrote that she "not only bears a startling resemblance to an imaginable human being; she really knows how to act, in a blend of poetic grace with quiet realism."^[3]

Bergman was a tall, natural-looking, and intelligent Swedish actress, fluent in English. According to film historian David Thomson, she "always strove to be a 'true' woman", and many filmgoers identified with her:

"There was a time in the early and mid-1940s when Bergman commanded a kind of love in America that has been hardly ever matched. In turn, it was the strength of that affection that animated the 'scandal' when she behaved like an impetuous and ambitious actress instead of a saint."^[9]:76

Nonetheless, writing about her first years in Hollywood, Life magazine stated that "All Bergman vehicles are blessed", and "they all go speedily and happily, with no temperament from the leading lady."^[6] She was "completely pleased" with her early career's management by David O. Selznick, who always found excellent dramatic roles for her to play, and equally satisfied with her salary, once saying, "I am an actress and I am interested in acting, not in making money." Life adds that "she has greater versatility than any actress on the American screen ... her roles have demanded an adaptability and sensitiveness of characterization to which few actresses could rise."^[6]

She continued her acting career while fighting an eight-year battle with cancer, and won international honors for her final roles. "Her spirit triumphed with remarkable grace and courage", adds Spoto.^[14] Director George Cukor once summed up her contributions to the film media when he said to her, "Do you know what I especially love about you, Ingrid, my dear? I can sum it up as your naturalness. The camera loves your beauty, your acting, and your individuality. A star must have individuality. It makes you a great star. A great star."^[5]:11

For her contributions to the motion picture industry, Bergman has a star on the Hollywood Walk of Fame at 6759 Hollywood Blvd.

Woody Guthrie wrote the erotic song "Ingrid Bergman" which references Bergman's relationship with Roberto Rosselini on the film "Stromboli". It was never recorded by Guthrie but, later found in the Woody Guthrie archives, it was put to music, and recorded, by Billy Bragg on the album Mermaid Avenue ^[21]

Autobiography[link]

In 1980, Bergman's autobiography was published under the title Ingrid Bergman: My Story. It was written with the help of Alan Burgess, and in it she discusses her childhood, her early career, her life during her time in Hollywood, the Rossellini scandal and subsequent events. The book was written after her children warned her that she would only be known through rumors and interviews if she did not tell her own story. It was through this autobiography that her affair with Robert Capa became known.

Awards[link]

Filmography[link]

Notes[link]

References[link]

• Bergman, Ingrid and Burgess, Alan (1980). Ingrid Bergman: My Story. New York: Delacorte Press. ISBN 0-440-03299-7. 
• Chandler, Charlotte (2007). Ingrid: Ingrid Bergman, A Personal Biography. New York: Simon & Schuster. ISBN 0-7432-9421-1. 
• Leamer, Laurence (1986). As Time Goes By: The Life of Ingrid Bergman. New York: Harper & Row. ISBN 0-06-015485-3. 
• Dagrada, Elena (2008). Le Varianti Trasparenti. I Film con Ingrid Bergman di Roberto Rossellini. Milano: LED Edizioni Universitarie. ISBN 978-88-7916-410-8. 

External links[link]

Wikimedia Commons has media related to: Ingrid Bergman

Wikiquote has a collection of quotations related to: Ingrid Bergman

Biographical profiles[link]

• Ingrid Bergman at the Internet Movie Database
• Ingrid Bergman at the TCM Movie Database
• Ingrid Bergman at the Internet Broadway Database
• TCM Confidential: Ingrid Bergman

Official sites[link]

• Ingrid Bergman site run by CMG
• Ingrid Bergman Collection at Wesleyan University

Interviews[link]

• 1943 New York Times Interview
• Larry King transcript with Ingrid Bergman's daughters on the 60th anniversary of Casablanca
• Excerpt from Isabella Rossellini's Some of Me that describes Ingrid Bergman's passion for cleaning

Videos[link]

• clip from Intermezzo, 1936 Swedish version
• clip from Intermezzo, 1939 U.S. version
• clip from Casablanca
• clip from Gaslight
• clip from Notorious
• clip from Joan of Arc
• (French) Television interview by Radio-Canada reporter Judith Jasmin on 15 July 1957
• (French) Television interview on JT 20H on 22 February 1959
• (French) Television interview by France Roche on Cinépanorama on 19 November 1960

Audios[link]

• Radio rich media may be found in the radio credits table.
• Ingrid Bergman's Spoken Word Version of The Pied Piper of Hamelin
• Audio Recording of Ingrid Bergman in the NY Production of More Stately Mansions (1967) (Adobe Flash)

Other[link]

• Photographs and bibliography

Greyson Chance
Greyson Chance in concert at the Hard Rock Cafe in Boston, Massachusetts on September 20, 2011
Background information
Birth name	Greyson Michael Chance
Born	(1997-08-16) August 16, 1997 (age 14)[1] Wichita Falls, Texas, U.S.[2]
Origin	Edmond, Oklahoma, U.S.[2]
Genres	Pop rock
Instruments	Piano, vocals
Years active	2010–present
Labels	eleveneleven, Maverick, Streamline, Geffen
Website	greyson-official.com

Greyson Michael Chance (born August 16, 1997)^[1] is an American pop rock singer and pianist whose April 2010 performance of Lady Gaga's "Paparazzi" at a sixth-grade music festival became a hit on YouTube,^[3] gaining over 45 million views as of December 3, 2011. Two of his original compositions, "Stars" and "Broken Hearts", gained over 5 and 7 million views respectively on his YouTube channel.^[4] His début single, "Waiting Outside the Lines", was released in October 2010. Chance's début album, Hold On 'Til the Night, was released on August 2, 2011.

Personal life[link]

Chance was born on August 16, 1997 in Wichita Falls, Texas, and currently resides in Edmond, Oklahoma. He is the youngest child of Scott and Lisa Chance. Chance has an eighteen-year-old sister, Alexa, and a twenty-year-old brother, Tanner, both of whom also do music. Chance began playing the piano at the age of 8 and has had three years of piano lessons. He, however, had no formal vocal training.

Of his inspiration, Chance said, "I love artists who are able to communicate their emotions through music and sing from the heart. That’s what I’m hoping to do with my songs." He was emboldened by Lady Gaga after seeing her performance of Paparazzi at the 2009 MTV Video Music Awards. He stated, "I was awestruck by her performance. I love her sense of drama and theatricality. Plus, she’s an amazing singer and piano player." Chance was also inspired by the artists Christina Aguilera, Augustana, John Legend, Elton John, and John Lennon.

Appearances[link]

Chance's "Paparazzi" cover video was posted to YouTube, on April 28, 2010, and for almost two weeks the video generated low views. At least two social websites, GossipBoy.ca and reddit.com, posted video embeds on May 10, 2010. Ellen DeGeneres first saw the video after Chance's brother, Tanner Chance, wrote to her show suggesting she watch it.^[5] The video had about 10,000 views when DeGeneres first saw it.^[6] While explaining her reasons for naming her new record label eleveneleven, she listed as one reason the fact that she first saw Chance's Paparazzi cover on May 11, 2010. Also, she states that 11 is Greyson's soccer jersey number.^[7] On the afternoon of May 11, Yahoo! Music reported: "As of this writing, the video has got more than 36,000 views so far, and he's even been invited to perform on The Ellen DeGeneres Show.^[3]

On May 12, 2010 Greyson Chance taped an interview and performance of "Paparazzi" for Ellen in Los Angeles.^[8] It was broadcast on May 13.^[9][10] During the interview, Chance received a phone call from Lady Gaga,^[11] who the boy says is his "true inspiration."^[12] This first appearance on Ellen was followed by a second appearance on the show, airing May 26, 2010, on which Chance performed his original song "Broken Hearts," received a $10,000 award for winning Ellen's Wonderful Web of Wonderment contest, a brand new Yamaha piano, and was announced as DeGeneres's first signed artist to her new recording label eleveneleven.^[13] Chance now has many fans on online social sites such as Facebook and Twitter.^[14] He is the 28th most subscribed musician of all time on YouTube, with a 286,000 subscriber base, as of January 3, 2011.^[15] Greyson Chance also appeared at We Day (also known as Me to We Day 2010) in downtown Toronto at the Air Canada Centre, where he performed "Fire" by Augustana.^[16]

In the media[link]

Greyson at the film premiere of Harry Potter and the Deathly Hallows – Part 2 in July 2011.

On the morning of May 11, 2010, Chance's cover video of "Paparazzi" was embedded at RyanSeacrest.com, which reported finding the video via BuzzFeed, a website that attempts to track and predict emerging viral internet memes.^[17] Later in the day, TVGuide,^[18] The Huffington Post,^[19] and Yahoo! Music's video blog, Video Ga Ga,^[3] also posted articles embedding the video; TVGuide mentioned in its article that a Facebook fan page had already been started for Chance. That afternoon, Ryan Seacrest and DeGeneres linked the video on their Twitter accounts,^[20][21] as did celebrity Ashton Kutcher^[22] later that evening.

On May 12, 2010, DeGeneres' announcement of Chance's booking, on The Ellen DeGeneres Show, was broadcast at different times across the U.S. and posted to her website.^[23] Wall Street Journal^[24] and Los Angeles Times,^[25] among other mainstream media, posted articles embedding the video and announcing the forthcoming appearance. That evening, ABC World News broadcast a report on Chance which was introduced by Diane Sawyer, who said the story struck ABC News as "part Billy Elliot and part Glee."^[26] Also that evening, Guy Oseary, an L.A.-based entertainment manager whose clients include Madonna, Demi Moore, and Ashton Kutcher, recommended Greyson's "Paparazzi" video on Twitter.^[27]

On May 13, 2010, Chance's appearance on The Ellen DeGeneres Show was broadcast, and mainstream media, including CBS^[28] and People,^[29] reported on the appearance. That morning, Ryan Seacrest posted another link on Twitter, this time to the video of Chance appearing on The Ellen DeGeneres Show.^[30] Not only has he received attention from DeGeneres and Seacrest but also, on May 14, singer, songwriter, and author David Archuleta linked the video on Twitter claiming that Greyson "is talented."^[31]