IN: Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.

Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing. Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image). Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
QUESTION: what was the concept of her philosophy?
IN: Charles Michael "Chuck" Schuldiner (May 13, 1967 - December 13, 2001) was an American singer, songwriter, and guitarist. He founded the pioneering band Death in 1983. Schuldiner is often referred to as "The Godfather of death metal", and his obituary in the January 5, 2002 issue of UK's Kerrang! magazine said that "Chuck Schuldiner was one of the most significant figures in the history of metal."

Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook.
QUESTION: When did he start playing music?
IN: Chapter 27 is a 2007 biographical drama film depicting the murder of John Lennon by Mark David Chapman. It was written and directed by Jarrett Schaefer, based on the book Let Me Take You Down by Jack Jones, produced by Robert Salerno, and stars Jared Leto as Chapman. The film takes place in December 1980, and is intended to be an exploration of Chapman's psyche. Its title is a reference to J. D. Salinger's novel The Catcher in the Rye, which has twenty-six chapters, and suggests a continuation of the book.

The real Mark David Chapman is currently incarcerated at Wende Correctional Facility, on a guilty plea. Aside from two interviews with Larry King and Barbara Walters, both in 1992, he has not spoken with the media. However, Chapman did reveal the mechanics of his unraveling during those three days in New York City to journalist Jack Jones. The interviews were published in 1992 as Let Me Take You Down: Inside the Mind of Mark David Chapman, a book of Chapman's recollections of his act of violence. Chapter 27 is based on this text. The title "Chapter 27" suggests a continuation of J. D. Salinger's novel The Catcher in the Rye, which has twenty-six chapters, and which Chapman was carrying when he shot John Lennon. Chapman was obsessed with the book, to the point of attempting to model his life after its protagonist, Holden Caulfield. According to the British music magazine Mojo, the title was also inspired by Chapter 27 of Robert Rosen's book Nowhere Man: The Final Days of John Lennon (2000). Rosen's book explores the numerological meaning of the number 27, "the triple 9", a number of profound importance to John Lennon. Lennon was deeply interested in numerology, particularly Cheiro's Book of Numbers, along with nine and all its multiples. It was Chapman's goal, according to Rosen, to write Chapter 27 "in Lennon's blood". Like Chapman, Schaefer is a fan of both The Beatles and J.D. Salinger's novel The Catcher in the Rye, and said he began the script to try to understand "how someone could be inspired to kill anyone as a result of being exposed to this kind of beautiful art. It really bothered me, because Lennon and Salinger have always made me feel so much better, and so much less alone."
QUESTION:
How well did the interviews go?