Age: 74
male
William "Bill" Moseley (born November 11, 1951) is an American film actor and musician who has starred in a number of cult classic horror films, including House of 1000 Corpses, Repo! The Genetic Opera and The Devil's Rejects. His first big role was in The Texas Chainsaw Massacre 2 as Chop Top. He has also released records with guitarist Buckethead, in the band Cornbugs. Moseley was born in Stamford, Connecticut, and grew up in Barrington Hills, Illinois. He is the son of Virginia Gillette (Kleitz), a journalist, and S. D. Moseley (Spencer Dumaresq Moseley), who was a member of the Yale Corporation, All-American captain and center of the 1942 Yale football team, and chairman and chief executive of the Railway Express Agency. His grandfather, George Moseley, also played football at Yale and was an All-American. He is a graduate of Yale University. For a period of time, Moseley operated as a journalist, writing for such magazines as Omni, National Lampoon and Psychology Today.
The Tempest is a play by William Shakespeare, probably written in 1610–1611, and thought to be one of the last plays that Shakespeare wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants—Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and family. In Act IV, a wedding masque serves as a play-within-the play, and contributes spectacle, allegory, and elevated language. Though The Tempest is listed in the First Folio as the first of Shakespeare's comedies, it deals with both tragic and comic themes, and modern criticism has created a category of romance for this and others of Shakespeare's late plays. The Tempest has been put to varied interpretations—from those that see it as a fable of art and creation, with Prospero representing Shakespeare, and Prospero's renunciation of magic signaling Shakespeare's farewell to the stage, to interpretations that consider it an allegory of Europeans colonizing foreign lands.
