Determined to make the time pass on a hot and humid day, Ty is inspired by a man who fills the night with music using a washboard, comb, spoons, and a pail as his instruments. It’s the hottest day of the year, and the sun is burning so bright that it dried up all the dew on the grass. Mom is doing laundry, Dad is unloading the chicken feed, and his brother and sister are busy… but Ty is set on finding something to do to make the time pass on the hot day. As he lays under the shade of the trees and watches the fish in the pond, Ty begins to hear the steadying thump-thump-thump of someone playing music. Then, out of nowhere, a man with one leg approaches the pond. As he watches in awe as the man makes music out of the strangest things, Ty begins making his own sounds using anything he can find.

Phil Pendleton grew up liking to talk and tell stories. But a competition in Junior High told Phil Pendleton he should pursue a career in broadcasting. Years later he would take up a camera and microphone and cover news in a part of Kentucky some call one of the most interesting areas in the nation, all as a "one man band." This is his story. How he got where he is, who helped him, and why doing it all has been a journey he'll never forget.

Traces the life and career of the legendary director, discussing the making of "Citizen Kane," his contributions to such films as "The Magnificent Ambersons" and "The Lady from Shanghai," and his efforts in radio comedy, spectacular theater, and newspaper politics.

In One-Man Band, the third volume in his epic survey of Orson Welles life and work, Simon Callow again probes in comprehensive and penetrating detail into one of the most complex artists of the twentieth century, looking closely at the triumphs and failures of an ambitious one-man assault on one medium after another theatre, radio, film, television, even, at one point, ballet in each of which his radical and original approach opened up new directions and hitherto unglimpsed possibilities. The book begins with Welles self-exile from America, and his realisation that he could only function happily as an independent film-maker, a one-man band; by 1964, he had filmed Othello, which took three years to complete, Mr Arkadin, the biggest conundrum in his output, and his masterpiece Chimes at Midnight, as well as Touch of Evil, his sole return to Hollywood and, like all too many of his films, wrested from his grasp and re-edited. Along the way he made inroads into the fledgling medium of television and a number of stage plays, including Moby-Dick, considered by theatre historians to be one of the seminal productions of the century. Meanwhile, his private life was as dramatic as his professional life. The book shows what it was like to be around Welles, and, with a precision rarely attempted before, what it was like to be him, in which lies the answer to the old riddle: whatever happened to Orson Welles? "

Publisher Description

A portrait of the legendary American rock-and-roll band draws on exclusive interviews to track their career from 1969 to the present and is complemented by previously unpublished photographs and memorabilia.

Video journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking techniques than conventional television. Its detractors consider it simply a cheaper way to make news. Video Journalism: Beyond the One-Man Band weighs in on the controversy while addressing two overall concerns: What is video journalism, exactly? And how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in the United States and the United Kingdom, including local newspapers, The New York Times, local television stations, the BBC, the Voice of America radio network, and several professional photographic workshops. In a departure from other news ethnographies, this book takes a somewhat unusual approach in that the author observes video journalists at work in the field, not just in newsrooms, on stories ranging from an urban shooting to a presidential campaign visit. This approach offers a fascinating insider perspective for those in the field as well as those who aspire to it.