From 1983 to 1994, Stanley M Fried performed his writings at a number of venues in San Diego, California.
The first of these performances took place to fund paying rent and other bills.
A private performance for an invitational audience was sponsored in a Los Angeles home in 1984.
Most performances took place at Sushi Gallery and Performance Space in downtown San Diego.
Other San Diego venues included San Diego Repertory Theatre, Wiki-Up Cafe, and St. Cecilia's Theatre.
Stanley Fried was also a contributing writer to The Espresso, a newspaper in San Diego.
Much of his writing has been lost.
This website presents the existing works of Stanley Fried.
Stanley Fried began using music as background to his readings in 1986.
The works were never written to the music used in performance.
After completing a piece, he would search for music to punctuate or emphasize the work he wrote.
Stanley M. FriedStanley Marc Fried was born in Los Angeles, California on 13 February 1947.
A few years ago, Stanley was informed by his neice April that his brother legally changed his name to Norman Marc Freed.
This is Mr. Fried's favorite review.
Peridot: In Passing was invited to be performed at Experiments in Art and Technology at the University of Southern California.
As a result of that performane, the Student Body of the California Institute of Technology in Pasadena, California, invited him to stage a four-day theatre event to coincide with the Clean-Air Car Race in the summer of 1970.
In this same period, Stanley Fried worked as a Psychiatric Technician at Fairview State Hospital in Costa Mesa, California.
This work was civilian service in lieu of military duty as a conscientious objector.
He also provided draft counseling services.
He was fired from his work there after filing a report on patient abuse.
Stanley M. Fried is a graduate of the California Institute of the Arts (BFA: 1973).
While there, he studied and worked with Allan Kaprow, John Willett, Paul Roche, Deanna Metzger, Jeremy Shapiro, Paul Brach, Miriam Schapiro, Hallock Hoffman, and Marshall Ho'o among others.
When he later worked at the University of California, San Diego, he had the opportunity to work with Jerome Rothenberg, David Antin, Eleanor Antin, and Newton and Helen Harrison.
In the late 1970s, Mr. Fried was the Administrative Director of CETA Administration for City Arts (CAFCA) in Los Angeles.
Initially operating under the aegis of the California Confederation of the Arts, this program contracted with the City of Los Angeles and the County of Los Angeles to administer federal funds of the Comprehensive Employment and Training Act (CETA) for the employment of artists (visual and performing) through non-profit arts organizations.
Mr. Fried kept the entire works of Franz Kafka on his desk as a commentary on the bureaucracy in which the program was entangled but few ever seemed to see the relationship between the books on his desk and the acronym of the program's name.
Stanley Fried was a consultant to the U.S. Department of Labor on issues relating to employment of artists in the non-profit sector.
Between jobs in arts administration, he worked that the now infamous and greatly missed The Espresso Bar in Pasadena, California.
In this same period, Mr. Fried was a contributing writer to The Espresso newspaper in San Diego.
In response, Stanley M Fried submitted an initiative of his own to name the newly completed and, as of yet, un-named Convention Center.
The name proposed on his initiative was The San Diego White People's Convention Center.
Some in the art community at that time were concerned that white supremacist groups in the area would latch on to the idea and support the initiative.
They voiced their concerns that the initiative might pass.
Mr. Fried responded by saying that the purpose of the initiative was to reveal San Diego for the racist community it was.
He felt there would be no better way to demonstrate this than to have racists support such an innane name for a building.
As he expected, the initiative did not get enough signatures to be placed on the ballot.
After a short stint as Director of Development for the Northwest Chamber Orchestra in Seattle, Fried decided to leave working in the arts and transitioned into private sector work.
Utilizing the business and technology skills he had gained, he successfully moved into working with software applications and database design.
These were put to use in banking, medical research, and law offices.
He currently resides in Albuquerque, New Mexico where he works for a software firm in the implementation of legal case management software.
From 2002 to 2007, much of his time was spent traveling throughout the United States for work.
He currently has a desk job.
Stanley M. Fried
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