Answer the question at the end by quoting:

James Byron Dean was born on February 8, 1931, at the Seven Gables apartment on the corner of 4th Street and McClure Street in Marion, Indiana, the only child of Winton Dean and Mildred Marie Wilson. He was primarily of English descent, with smaller amounts of German, Irish, Scottish, and Welsh ancestry. Six years after his father had left farming to become a dental technician, Dean and his family moved to Santa Monica, California. He was enrolled at Brentwood Public School in the Brentwood neighborhood of Los Angeles, California, but transferred soon afterward to the McKinley Elementary School.
American teenagers of the mid-1950s, when Dean's major films were made, identified with Dean and the roles he played, especially that of Jim Stark in Rebel Without a Cause. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. Humphrey Bogart commented after Dean's death about his public image and legacy: "Dean died at just the right time. He left behind a legend. If he had lived, he'd never have been able to live up to his publicity."  Joe Hyams says that Dean was "one of the rare stars, like Rock Hudson and Montgomery Clift, whom both men and women find sexy". According to Marjorie Garber, this quality is "the undefinable extra something that makes a star". Dean's iconic appeal has been attributed to the public's need for someone to stand up for the disenfranchised young of the era, and to the air of androgyny that he projected onscreen. His estate still earns about $5,000,000 per year, according to Forbes Magazine.  Dean has been a touchstone of many television shows, films, books and plays. The film September 30, 1955 (1977) depicts the ways various characters in a small Southern town in the US react to Dean's death. The play Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, written by Ed Graczyk, depicts a reunion of Dean fans on the 20th anniversary of his death. It was staged by the director Robert Altman in 1982, but was poorly received and closed after only 52 performances. While the play was still running on Broadway, Altman shot a film adaptation that was released by Cinecom Pictures in November 1982.  On April 20, 2010, a long "lost" live episode of the General Electric Theater called "The Dark, Dark Hours" featuring Dean in a performance with Ronald Reagan was uncovered by NBC writer Wayne Federman while working on a Ronald Reagan television retrospective. The episode, originally broadcast December 12, 1954, drew international attention and highlights were featured on numerous national media outlets including: CBS Evening News, NBC Nightly News, and Good Morning America. It was later revealed that some footage from the episode was first featured in the 2005 documentary, James Dean: Forever Young.

what were some films he was in?

Rebel Without a Cause.



Answer the question at the end by quoting:

Hedwig and the Angry Inch is a rock musical about a fictional rock and roll band fronted by a transgender East German singer, Hedwig Robinson. The book is by John Cameron Mitchell, and the music and lyrics are by Stephen Trask. The story draws on Mitchell's life as the son of a U.S. Army Major General who once commanded the U.S. sector of occupied West Berlin. The character of Hedwig was inspired by a German divorced U.S. Army wife who was a Mitchell family babysitter and moonlighted as a prostitute at her Junction City, Kansas, trailer park home.
In August 2010, a Brazilian adaptation of Hedwig and the Angry Inch premiered in Rio de Janeiro, with Paulo Vilhena and Pierre Baitelli playing Hedwig. This was the first adaptation where there were two actors simultaneously playing Hedwig onstage. The play was translated by Jonas Calmon Klabin and directed by Evandro Mesquita, with musical direction by Danilo Timm and Evandro Mesquita. Eline Porto played Yitzhak, Alexandre Griva on the drums, Fabrizio Iorio on the keyboards, Patrick Laplan on the bass, and Pedro Nogueira playing the guitar.  The musical previews ran from August 10 to September 3, 2010 and the full show ran from September 15 to November 6, 2010, totaling 46 performances.  The same production reopened in Sao Paulo on August 26, 2011, and ran until October 16, 2011, for a total of 25 performances, now with actors Pierre Baitelli and Felipe Carvalhido playing Hedwig. Eline Porto played Yitzhak, Diego Andrade on the drums, Fabrizio Iorio on the keyboards, Melvin Ribeiro on the bass, and Pedro Nogueira playing the guitar. Nominated for Best Actor (Pierre Baitelli) and Best Musical direction (Danilo Timm and Evandro Mesquita) at the Premio Shell de Teatro. Winner of Best Actor (Pierre Baitelli and nominated for Best Production (Oz), Best Director (Evandro Mesquita), and Best Actress (Eline Porto) at the Premio Arte Qualidade Brasil. Also, one nomination for Best Musical in a Brazilian adaptation for the Premio Contigo de Teatro.  This same production performed again in Rio de Janeiro from April 4-22, 2012, and a tour to Curitiba, performing April 26-29, 2012, for a total of 16 performances. On November 24, 2012, John Cameron Mitchell performed a concert with the Brazilian Hedwig cast and guests and there were another two performances of Hedwig in Rio, November 23 and 25, and 4 performances in Fortaleza, November 29, 30, December 1 and 2, 2012. There were another 7 performances scheduled for February 2014 in Brasilia and Recife, finalizing the Brazilian Hedwig project with a total of 100 performances.

Was it ever made into a film?





Answer the question at the end by quoting:

Indigenous languages of the Americas are spoken by indigenous peoples from Alaska and Greenland to the southern tip of South America, encompassing the land masses that constitute the Americas. These indigenous languages consist of dozens of distinct language families, as well as many language isolates and unclassified languages. Many proposals to group these into higher-level families have been made, such as Joseph Greenberg's Amerind hypothesis. This scheme is rejected by nearly all specialists, due to the fact that some of the languages differ too significantly to draw any connections between them.
Although both North and Central America are very diverse areas, South America has a linguistic diversity rivalled by only a few other places in the world with approximately 350 languages still spoken and an estimated 1,500 languages at first European contact. The situation of language documentation and classification into genetic families is not as advanced as in North America (which is relatively well studied in many areas). Kaufman (1994: 46) gives the following appraisal:  Since the mid 1950s, the amount of published material on SA [South America] has been gradually growing, but even so, the number of researchers is far smaller than the growing number of linguistic communities whose speech should be documented. Given the current employment opportunities, it is not likely that the number of specialists in SA Indian languages will increase fast enough to document most of the surviving SA languages before they go out of use, as most of them unavoidably will. More work languishes in personal files than is published, but this is a standard problem.  It is fair to say that SA and New Guinea are linguistically the poorest documented parts of the world. However, in the early 1960s fairly systematic efforts were launched in Papua New Guinea, and that area - much smaller than SA, to be sure - is in general much better documented than any part of indigenous SA of comparable size.  As a result, many relationships between languages and language families have not been determined and some of those relationships that have been proposed are on somewhat shaky ground.  The list of language families, isolates, and unclassified languages below is a rather conservative one based on Campbell (1997). Many of the proposed (and often speculative) groupings of families can be seen in Campbell (1997), Gordon (2005), Kaufman (1990, 1994), Key (1979), Loukotka (1968), and in the Language stock proposals section below.

Overall, what was the outcome?
SA Indian languages will increase fast enough to document most of the surviving SA languages before they go out of use, as most of them unavoidably will.