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» Win Some, Lose Some

We didn't think it'd last beyond summer
I met her father she met my mother
We didn't have anywhere else to go
She said to me when we grow older
Will we still need young love on
Our shoulders
Does it just fade away
Will we ever know?

She touched my face and called me
Her lover
I never thought that I'd need another

Your cool suburban sun
You're foolin' every one
You win some you lose some

I didn't know what we had found
Just caught the bus and rode it to town
She wouldn't notice anything else but me

Your cool suburban sun
You're foolin' every one
You win some you lose some

Dancing at discos
And moaning at phone bills
Torremolinos and sun burnt in high heels
Swap it and sell it
And drop it and smell it
All those years ago

She touched my face and called me
Her lover
I never thought that I'd need another

Your cool suburban sun
You're foolin' every one
You win some you lose some

Your cool suburban sun
You're foolin' every one
You win some you lose some

Now it's gone, now it's gone,
You win some, you lose some
Now it's gone, now it's gone,
You win some, you lose some
Now it's gone, now it's gone,
You win some, you lose some
Now it's gone, now it's gone,
You win some, you lose some

Win some

Cecil B. DeMille
From Wikipedia, the free encyclopedia

Cecil Blount DeMille (August 12, 1881 - January 21, 1959) was one of the most successful filmmakers during the first half of the 20th century.

Biography

Early life

DeMille was born in Ashfield, Massachusetts to Henry Churchill DeMille, an Episcopal lay minister from North Carolina, and Matilda Beatrice Samuel, a Sephardic Jewish mother who was born in England. DeMille grew up in Saint John, New Brunswick.

Career

DeMille directed dozens of silent films, including Paramount Pictures' first production, The Squaw Man (1914), before coming into huge popularity during the late 1910s and early 1920s, when he reached the apex of his popularity with such films as Don't Change Your Husband (1919), The Ten Commandments (1923), and The King of Kings (1927).

Though most commonly referred to by the press as DeMille with a capital "D", DeMille preferred and even signed his checks as "deMille" with a small "d". DeMille's business address for most of his career was 2010 DeMille (capital "D") Drive, Hollywood, California (which is actually in the adjacent Los Angeles neighborhood of Los Feliz). In either case, the persona of the larger than life showman was reinforced by such affectations and his status as an icon thrived.

Cecil B. DeMille had a keen eye for talent and was known for being an instrumental catalyst for the rising status of many a struggling or unknown actor. Actor Richard Dix's best-remembered early role was in the silent version of Demille's The Ten Commandments. Richard Cromwell owed his 1930s movie fame in part to being personally selected by DeMille for the role as the leader of the youth gang in Demille's poignant, now cult-favorite, This Day and Age (1933).

DeMille displayed a loyalty to certain supporting performers, casting them over and over in his pictures. They included Henry Wilcoxen, Julia Faye, Joseph Schildkraut, Ian Keith, Charles Bickford, Theodore Roberts, Akim Tamiroff, and William Boyd. He also cast leading actors such as Claudette Colbert, Gloria Swanson, Gary Cooper, Jetta Goudal, Robert Preston, Paulette Goddard, and Charlton Heston in multiple pictures. He was not known as a particularly good director of actors, often hiring actors whom he relied on to develop their own characters and act accordingly.

DeMille also had a reputation for being a tyrant on the set, and he despised actors who were not willing to take physical risks, such was the case with his dissatisfaction with the casting of Victor Mature in Samson and Delilah, as Mature refused to wrestle the lion, even though the lion was tame and had its teeth pulled (he remarked that Mature was "100% yellow"). Her refusal to risk personal injury in a scene involving fire in Unconquered cost Paulette Goddard her director's favor, and probably a role in The Greatest Show on Earth. He was, however, adept at directing "thousands of extras," and many of his pictures include spectacular set pieces, including the parting of the Red Sea in both versions of The Ten Commandments, the toppling of the pagan temple in Samson and Delilah, train wrecks in Union Pacific and The Greatest Show on Earth, and the destruction of a zeppelin in Madam Satan. He knew what the movie-going public wanted, and gave it to them over and over.

DeMille was one of the first directors in Hollywood to become a celebrity in his own right, performing as himself, long before the likes of Erich von Stroheim and Alfred Hitchcock made it fashionable. From 1936 to 1944, DeMille hosted and even acted as pitchman for Cecil B. DeMille's Lux Radio Theater, which was one of the most popular dramatic radio shows at the time. Gloria Swanson immortalized DeMille with the oft-repeated line, "All right, Mr. DeMille, I'm ready for my close-up" in Billy Wilder's Sunset Boulevard, wherein DeMille played himself.

While he continued to be prolific throughout the 1930s and 1940s, he is probably best known for his 1956 film The Ten Commandments (which is very different from his 1923 film by the same title). Also representative of his penchant for the spectacular was the 1952 production of The Greatest Show on Earth which gave DeMille an Oscar for best picture and a nomination for best director.

Personal life

DeMille married Constance Adams on 16 August 1902 and had one child. During on-location filming in Egypt of the exodus sequence for 1956's The Ten Commandments, the then 73 year-old DeMille climbed a 107-foot ladder to the top of the massive Per Rameses set and suffered a near fatal heart attack. Miraculously, aided by his daughter Cecilia, but against his doctor's orders, he was back directing the film within a week. DeMille's mansion in Wayne, New Jersey was recently demolished, although the gatehouse has been transformed into a modest-size home, currently occupied by Ryan Ward, the famed child actor from the Academy Award-nominated film Far From Heaven.

Cecil B. DeMille died of heart failure in 1959 and was interred in the Hollywood Forever Cemetery in Hollywood, California. At the time of his death, he was negotiating to direct the remake of Ben-Hur for MGM, and was planning to direct a movie about space travel.

Trivia

Cecil B. DeMille inspired the name of the John Waters' movie Cecil B. DeMented (and of its main character). In that movie, Cecil B. DeMented is an anarchic film director, shooting in one take.
Cecil B. DeMille designed the uniforms for cadets at the United States Air Force Academy.
Cecil B. DeMille is mentioned in the Bob Dylan song "Tombstone Blues", as well as in the Hoodoo Gurus song "On My Street".
Cecil B. DeMille's trademark of having scores of soldiers die during battle is also mentioned in the 1974 film Blazing Saddles when local alcoholic Jim, aka "The Waco Kid", describes his reputation as a gunslinger. - Waco Kid: "I must have killed more men than Cecil B. DeMille!".
A lesser known fact, regarding DeMille's date of death, is that Cecil DeMille died on exactly the same day as Carl Switzer who had played "Alfalfa" in the 1930s "Our Gang" shorts. Many of Switzer's associates would later claim that this was bad timing and slightly unfair, since Cecil DeMille's obituary was so lengthy that Switzer's death was allocated very little attention in the media. Coincidentally, Switzer appeared, unbilled, in DeMille's 1956 The Ten Commandments.
DeMille's niece, Agnes de Mille, was a dancer and choreographer, best known for choreographing the "dream ballet" in Oklahoma!.
According to Disneyland's internal Landscape Manual, a stand of still-existing Senegal Date Palms, located in Tomorrowland between the Tomorrowland Stage and Autopia attractions, were donated to Walt Disney by DeMille from his own front yard in Los Feliz, California.

Legacy Honor

The film school at Chapman University in Orange, California is named in honor of DeMille.

Cantinflas
From Wikipedia, the free encyclopedia


Mario Moreno "Cantinflas"
Born 12 August 1911
Mexico City, Mexico
Died April 20, 1993
Mexico City, Mexico

Mario Moreno Reyes (August 12, 1911 - April 20, 1993) was a comedian of the Mexican theatre and film industry. His interpretation of Cantinflas, a character originating in the pelado, the impoverished campesino-cum-slumdweller that came to represent the national identity of Mexico, earned him popularity with the common people that he was able to parlay into a long, successful film career that included a foray into Hollywood. Charlie Chaplin once called him "the greatest comedian in the world," and he is often referred to as the "Charlie Chaplin of Mexico".[1]

While some of films were dubbed into English for American audiences, and his work found some favor among the people of France, the wordplay of his Spanish-language humor did not translate particularly well into other languages. However, he was wildly successful in Latin America, where he still has many devoted fans.

As a pioneer of the cinema of Mexico, Moreno helped usher in its golden era. His success, as part of Mexico's cinematic blossoming, helped establish Mexico as the entertainment capital of Latin America. In addition to being a business leader, he also became involved in Mexico's tangled and often dangerous labor politics. Although he was himself politically conservative, his reputation as a spokesperson for the downtrodden gave his actions authenticity and became important in the early struggle against charrismo, the one-party government's practice of coopting and controlling unions.

Moreover, his character Cantinflas, whose identity became enmeshed with his own, was examined by media critics, philosophers, anthropologists, and linguists, who saw in him variably as danger to Mexican society, a bourgeois puppet, a kind philantropist, a venture capitalist, a transgressor of gender roles, a pious Catholic, a verbal innovator, and a picaresque underdog.

In effect, Moreno was all of these. His character Cantinflas, in attempting to encompass the identity of an entire nation, developed the contradictions and complexities inherent in any attempt to epitomize a country as complex and contradictory as Mexico.

Personal life

Born the sixth of thirteen children to Pedro Moreno Esquivel, an impoverished mail carrier, and Soledad Reyes, Moreno was born in the Santa María la Redonda neighborhood of Mexico City, and grew up in the rough Tepito barrio.[2] He made it through difficult situations with the quick wit and street smarts that he would later apply in his films. After an unsuccessful attempt to enter the United States through California, he became a prizefighter in his teens as a source of income.[3] His comic personality led him to a circus tent show, and from there to legitimate theatre and film.

He married Valentina Ivanova, of Russian ethnicity, on October 27, 1936, and remained with her until her death in 1966. They adopted a son in 1961 and named him Mario Arturo Moreno Ivanova.[3][4]

He served as president of the Mexican actor's guild known as Asociación Nacional de Actores (ANDA, "National Association of Actors") and as first secretary general of the independent filmworkers' union Sindicato de Trabajadores de la Producción Cinematográfica (STPC).

Following his retirement, Moreno devoted his life to helping others through charity and humanitarian organizations, especially those dedicated to helping children. His contributions to the Catholic Church and orphanages made him a folk hero in Mexico.

In 1993, after his death in Mexico City from lung cancer, thousands appeared on the rainy day for his funeral. The ceremony was a national event, lasting three days. His body lay in state in the Rotonda de los Hombres Ilustres (Rotunda of Distinguished Men) and he was honored by many heads of state and the United States Senate, which held a moment of silence for him.

After his death, a 12-year legal battle ensued between Mario Moreno Ivanova, Cantinflas' adoptive son and heir to his estate, and the actor's blood nephew, Eduardo Moreno Laparade over the control of 34 of films made by Cantinflas. The nephew claimed his uncle gave him a written notice to the rights for movies on his deathbed. Moreno Ivanova argued he is the direct heir of Cantinflas and the rights belong to him. Moreno Laparade won the lawsuit twice [5], and Moreno Ivanova appealed winning at the final instance. [6]

At the same time, another legal battle ensued between Columbia Pictures and Cantinflas' son over the control of these films. Columbia claims that it bought the rights to 34 films four decades ago with the court noting several discrepancies in the papers. The son wanted the rights to the films to remain his and more generally, Mexico's, as a national treasure. On June 2, 2001 the eight year battle was resolved with Columbia retaining ownership over the 34 disputed films. [7]

Origin of name

As a young man, Cantinflas performed a variety of acts in travelling tents. It was also in the tents that he earned the nickname "Cantinflas"; however, the origin of the name is obscured by legend. According to one obituary, "Cantinflas" is a meaningless name invented to prevent his parents from knowing he was in the entertainment business, which they considered a shameful occupation. In another version, the Mexican media critic and theorist Carlos Monsiváis cites a legendary account of the origin of Cantinflas' characteristic speech:

According to a legend that he agrees with, a young Mario Moreno, overwhelmed by stage fright, once, in the Ofelia carpa, forgets his original monologue. He begins to say what comes to mind in a complete emancipation of phrases and words, and what comes to mind is an incoherent brilliance. His assistants recite his attack on syntax, and Mario becomes aware of it: destiny has placed in his hands the distinctive characteristic, the style that is manipulation of chaos. Weeks later, the name that will mark the invention is invented. Someone, taken in by the nonsense, screams: "Cuanto inflas!" [C' ntinflas] (You're annoying!) or "En la cantina inflas!" (You become egotistical in the barroom). The contraction catches on and becomes proof of the baptism that the character needs.[8]

Entertainment career

Cantinflas with Bing Crosby in the 1960 movie Pepe, his second and last American film.Before starting his professional life in entertainment, he explored a number of possible careers, such as medicine and professional boxing, before joining the entertainment world as a dancer. By 1930 he was involved in Mexico City's carpa (travelling tent) circuit, performing in succession with the Ofelia, Sotelo of Azcapotzalco, and finally the Valentina carpa, where he met his future wife. At first he tried to imitate Al Jolson by smearing his face with black paint, but later separated himself to form his own identity as an impoverished slum dweller with baggy pants, a rope for a belt, and a distinct mustache.[3] In the tents, he danced, performed acrobatics, and performed in the roles of several different professions.

Cantinflismo

In 1936, Moreno made his debut in Mexico City's Folies Bergère Theater. Now removed from the lower-class environment that pandered to baser humor, cantinflismo, the political joke that challenged the notion that Cantinflas' nonsense was vacuous, was born. In 1937, the politician Vicente Lombardo Toledano responded to a political rival: "If [labor leader Luis] Morones has decided to show his dialectical prowess, let him argue with Cantinflas." Now directly invoked in the debate, Cantinflas responded:

Ah! but let me make one thing clear, I have moments of lucidity, and I speak very clearly. And now I will speak with clarity...Friends! There are moments in my life that are really momentary...And it's not because one says it, but we must see it! What do we see? that's what we must see...because, what a coincidence, friends, that supposing that in the case?-let's not say what it could be?-but we must think about it and understand the psychology of life to make an analogy of the synthesis of humanity. Right? Well, that's the point![9]
Media figures and intellectuals fleshed out the definition and applications of cantinflismo in subsequent publications. Monsiváis interprets it in the context of the left-leaning presidency of Lázaro Cárdenas, calling it a "mock[ery] of proletariat discourse from glorious senselessness".[10] But perhaps the contemporary writer Miguel del Río's elaboration is the most eloquent:

It's as if Cantinflas were, more than anyone, the Mexican dictator of optimism ... he flirts with politics as if he were the most experienced politician. He becomes a leader and a proletariat, with only the change of a hat or a phrase.[11]
The political bent of Moreno's work was a marked turn, and his comedic innocence no longer sufficed to shield him from the criticism that political involvement entailed.

Film career

Cantinflas in Águila o sol (1937)In the mid-1930s, Cantinflas met Russian producer Jacques Gelman and subsequently partnered with him to form their own film production venture. Gelman produced, directed, and distributed, while Cantinflas acted. Cantinflas made his film debut in 1936 with No te engañes corazón but the film received little attention. He established Posa Films in 1939, producing short films that allowed him to develop the Cantinflas character, but it was in 1940 that he finally became a movie star, after shooting Ahí está el detalle ("There's the rub," literally "There lies the detail"). The phrase that gave that movie its name became a Cantinflas catch phrase for the rest of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th greatest film produced largely in Mexico.[12]

In 1941 Moreno first played the role of a police officer on film in El gendarme desconocido ("The unknown police officer" a play of words on "The Unknown Soldier). By this time he had sufficiently distinguished the peladito character from the 1920s-era pelado, and his character flowed comfortably from the disenfranchised, marginalized, underclassman to the empowered public servant. The political nature of the rhetoric of cantinflismo facilitated this fluidity. He would reprise the role of Agent 777 and be honored by police forces throughout Latin America for his positive portrayal of law enforcement.

Ni sangre, ni arena ("Neither Blood, nor Sand" a play on words on the bullfighter/gladiator phrase "Blood and Sand"), the 1941 satirical film on bullfighting, broke box-office records for Mexican-made films throughout Spanish-speaking countries. In 1942, Moreno teamed up with Miguel M. Delgado and Jaime Salvador to produce a series of low-quality parodies, including an interpretation of Chaplin's The Circus.

The 1940s and 1950s were Cantinflas' heyday. In 1946, he rejected Mexican film companies and instead signed with Columbia Pictures. [3] By this time, his popularity was such that he was able to lend his prestige to the cause of Mexican labor, representing the National Association of Actors in talks with President Manuel Ávila Camacho. The talks did not go well, however, and, in the resulting scandal, Moreno took his act back to the theatre.


A caricature of Cantinflas on the poster for Águila o sol under the alternative title Cantinflas en el teatro.On August 30, 1953, Cantinflas began performing his theatrical work Yo Colón ("I, Columbus") in the Teatro de los Insurgentes, the same theatre that had earlier been embroiled in a controversy over a Diego Rivera mural incorporating Cantinflas and the Virgin of Guadalupe. Critics, including the PAN and archbishop Luis María Martínez, called the work blasphemous, and it was eventually painted without the image of the Virgin.

Yo Colón placed Cantinflas in the character of Christopher Columbus, who, while continually "discovering America", made comical historical and contemporary observations from fresh perspectives. The jokes changed nightly, and Moreno continued to employ his word games and double entendres to jab at politicians.

In 1956, Around the World in Eighty Days, Cantinflas' American debut earned him a Golden Globe nomination for Best Actor in a musical or comedy. [13] In one famous gag, he would stroll into the middle of the bullring, casually reading a newspaper while the wickedly horned beast charged, moving only at the last possible moment. Variety magazine said in 1956 that his Chaplinesque quality made a big contribution to the success of the film.[14] The film ultimately made an unadjusted $42 million dollars at the box office[15]. As a result of the film, Cantinflas became the world's most highly paid actor. [16]

Moreno's second Hollywood feature, Pepe, attempted to replicate the success of his first. The film had cameo appearances by Frank Sinatra, Judy Garland, and other stars. His humor, deeply rooted in the Spanish language, did not translate well for the American audience and the movie was a notorious box office disappointment. He still earned a Golden Globe nomination for his part. Later in a 1992 American interview, Moreno cited the language barrier as the biggest impediment to his making it big in the United States. [17]

After returning to Mexico, Cantinflas created his own company, Cantinflas Films and continued making movies until his last, El Barrendero, in 1982.

Like Charlie Chaplin, Cantinflas was a social satirist. He played el pelado, an impoverished Everyman, with hopes to succeed. With mutual admiration, Cantinflas was influenced by Chaplin's earlier films and ideology. El Circo (the circus) was a "shadow" of Chaplin's silent film, The Circus and Si yo fuera diputado ("If I Were a Congressman") had many similarities with the 1940 film, The Great Dictator.

Cantinflas' films, to this day, still generate revenue for Columbia Pictures. In 2000, Columbia reported in an estimated USD$4 million in foreign distribution from the films. [3]

Impact

Cantinflas in Ahí está el detalle, a film that jumpstarted his film career and would later become a comical catchphrase.Among the things that endeared him to his public was his comic use of language in his films; his characters (all of which were really variations of the main "Cantinflas" persona but cast in different social roles and circumstances) would strike up a normal conversation and then complicate it to the point where no one understood what they were talking about. The Cantinflas character was particularly adept at obfuscating the conversation when he owed somebody money, was courting an attractive young woman, or was trying to talk his way out of trouble with authorities, whom he managed to humiliate without their even being able to tell. This manner of talking became known as Cantinfleada, and it became common parlance for Spanish speakers to say "¡estás cantinfleando!" (loosely translated as you're pulling a "Cantinflas"! or you're "Cantinflassing"!) whenever someone became hard to understand in conversation. The Real Academia Española officially included the verb cantinflear, cantinflas, and cantinflada[18] in its dictionary in 1992.

In the visual arts, Mexican artists such as Rufino Tamayo and Diego Rivera painted Cantinflas as a symbol of the Mexican everyman. The American punk band Mindless Self Indulgence released a song about Cantinflas called "Whipstickagostop".

Cantinflas' style and the content of his films have led scholars to conclude that he influenced the many teatros that spread the message of the Chicano Movement during the 1960s-1970s in the United States, the most important of which was El Teatro Campesino. The teatro movement was an important part of the cultural renaissance that was the social counterpart of the political movement for the civil rights of Mexican Americans. Cantinflas' use of social themes and style is seen as a precursor to Chicano theater.[19]

A cartoon series, the Cantinflas Show, was made in the 1970s starring an animated Cantinflas. The show was targeted for children and was intended to be educational. [20] The animated character was known as "Little Amigo" and concentrated on a wide range of subjects intended to educate children, from the origin of soccer to the reasons behind the International Date Line.


Cantinflas' star on the Hollywood Walk of Fame.Although Cantinflas never achieved the same success in the United States as in Mexico, he was honored with a star in the Hollywood Walk of Fame. He earned two Golden Globe nominations for best actor and in 1988, he received a lifetime achievement award from the Golden Globes and the Mexican Academy of Film. [21] [1]

The Mario Moreno "Cantinflas" Award is handed out annually for entertainers who "represent the Latino community with the same humor and distinction as the legendary Mario Moreno "Cantinflas" and who, like Cantinflas, utilizes his power to help those most in need." [22]

In 2002, Salvadorean-American (although self-described Chicano) artist, comedian, and Culture Clash member Herbert Sigüenza began performing a one-man show based on Cantinflas that toured nationally. The play, in both English and Spanish, incorporated motifs common in many of Cantinflas' films, and Sigüenza recreated many of the actor's physical comedy routines, such as his characteristic walk.[23]

Critical response

Cantinflas is sometimes seen as a Mexican Groucho Marx character, one who uses his skill with words to puncture the pretensions of the wealthy and powerful, the police and the government. Historian and author of Cantinflas and the Chaos of Mexican Modernity, writes, "Cantinflas symbolized the underdog who triumphed through trickery over more powerful opponents" and presents Cantinflas as a self image of a transitional Mexico. Gregorio Luke, executive director of the Museum of Latin American Art said, "To understand Cantinflas is to understand what happened in Mexico during the last century." [24] [3]

For his part, Monsiváis interprets the Moreno's portrayals in terms of the importance of the spoken word in the context of Mexico's "reigning illiteracy" (70% in 1930). Particularly in the film El Analfabeto, (The Illiterate), "Cantinflas is the illiterate who takes control of the language by whatever means he can."[25]

The journalist Salvador Novo interprets the role of Moreno's character entirely in terms of Cantinflismo: "En condensarlos: en entrgar a la saludable carcajada del pueblo la esencia demagógica de su vacuo confusionismo, estriba el mérito y se asegura la gloria de este hijo cazurro de la ciudad ladina y burlona de México, que es Cantinflas". ("In condensing them [the leaders of the world and of Mexico], in the giving back to the healthy laughter of the people the demagogic state of their empty confusion, merit is sustained and glory is ensured for the self-contained son of the Spanish-speaking mocker of Mexico, who is Cantinflas.")[26]

In his biography of the comic, the scholar of Mexican culture Jeffrey M. Pilcher views Cantinflas as a metaphor for "the chaos of Mexican modernity", a modernity that was just out of reach for the majority of Mexicans: "His nonsense language eloquently expressed the contradictions of modernity as 'the palpitating moment of everything that wants to be that which it cannot be'."[27] Likewise, "Social hierarchies, speech patterns, ethnic identities, and masculine forms of behavior all crumbled before his chaotic humor, to be reformulated in revolutionary new ways."[28]

Jane Wyatt
From Wikipedia, the free encyclopedia

Jane Waddington Wyatt (born August 12, 1910 in Campgaw, New Jersey) is an American actress. Her most famous roles were as Ronald Colman's love interest in Frank Capra's Lost Horizon (1937); as Margaret Anderson, the mother in the 1950s [television comedy] Father Knows Best; and as Amanda Grayson, Mr. Spock's mother on Star Trek: The Original Series and Star Trek IV: The Voyage Home. She also appeared in other celebrated films, such as 1947's best picture Oscar winner, Gentlemen's Agreement (with Gregory Peck), None but the Lonely Heart (with Cary Grant), and Boomerang (with Dana Andrews).

Wyatt came from a New York family of social distinction. Her father was a Wall Street investment banker and her mother was a drama critic, while one of her ancestors, Rufus King, had been a Presidential candidate. Among her other forebears were the van Rensselaers and the Livingstons, two of the most prominent families in New York City and State. She was also a cousin of Franklin Roosevelt. Her mother was a Catholic convert, and her father ultimately converted as well, although Jane did not attend Catholic schools.

Jane was raised from the age of three months in New York City, attended the fashionable Chapin School and later Barnard College. After two years of college, she left to join the apprentice school of the Berkshire Playhouse at Stockbridge, Massachusetts, where for six months she played a varied assortment of roles.

One of her first jobs on Broadway was as understudy to Rose Hobart in a production of "Trade Winds" - a career move that cost her her listing in the New York Social Register. (Her name was later relisted.) Receiving favorable notices on Broadway and celebrated for her understated beauty, Wyatt made the transition from stage to screen and was placed under contract at Universal (and co-starred in Frank Capra's Columbia film Lost Horizon on loan from Universal).

In the 1950s, she co-starred with Robert Young in Father Knows Best, the classic TV show chronicling the life and times of the Anderson family in the Midwestern town of Springfield. She won the Emmy for best actress in a comedy for three years in a row for her role as Margaret Anderson. Her film career suffered because of her outspoken opposition to Sen. Joseph McCarthy, the chief figure in the anti-Communist hysteria of that era. As a result, she returned to her roots on the New York stage for a time and appeared in such plays as Lillian Hellman's The Autumn Garden opposite Frederic March.

She lives at home in Bel Air, California, having outlasted almost all of her peers from Hollywood's golden age. Her husband, Edgar Bethune Ward (also a Catholic convert) died the day before what would have been their 65th wedding anniversary in 2000. She met her husband one weekend in the late 1920s, when they were both houseguests of the Franklin Roosevelts at Hyde Park. Among her earlier suitors was John D. Rockefeller III. The Wards had 2 sons, one a musician and the other an engineer and businessman.

Ms.Wyatt suffered a stroke some years ago but has recovered remarkably well. Among her avocations are travel to remote locations, bird-watching, and gardening.

John Derek
From Wikipedia, the free encyclopedia

John Derek (August 12, 1926 - May 22, 1998) was an American actor, director and photographer most famous for the women to whom he was married.

Born Derek Delevan Harris in Hollywood, California, he was first married to actress Pati Behrs (1922-2004), grand-niece of Leo Tolstoy and mother of his two children, Russell & Sean.

His matinee-idol good looks got him small supporting roles, most notably as Broderick Crawford's son in All the Kings Men (1949).

Perhaps Derek's most prominent film appearance was in a supporting role in the 1956 epic film, as the noble Joshua in The Ten Commandments. (It would not be his last encounter with a "10.") Derek's flogging in this Biblical epic (at the hands of Vincent Price) ranks 41st in the book, "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies."

Derek had a minor role as a film director. He directed his fourth wife, Bo Derek, in four movies. The 1990 film Ghosts Can't Do It was his last attempt in the director's chair.

His last three wives seemed to be nearly identical in appearance. Derek took photos of all three, at different times, for Playboy Magazine. He died from cardiovascular disease in Santa Maria, California at the age of 72.

Porter Wagoner
From Wikipedia, the free encyclopedia

Porter Wagoner (born August 12, 1927, in Howell County, Missouri, in the Ozark Mountains) is an American country music singer. Famous for his flashy Nudie suits and blonde pompadour, Wagoner introduced a young Dolly Parton to his long-running television show and together they were a very successful duet for a number of years.

His first band, The Blue Ridge Boys, performed on radio station KWPM from a butcher shop where Porter cut meat. Wagoner's big break came in 1951 when he was hired as a performer by station KWTO in Springfield, Missouri. This led to a contract with RCA Records. With lagging sales, Wagoner and his trio played schoolhouses for the gate proceeds.

In 1953, his song "Trademark" became a hit for Carl Smith, followed by a few hits of his own on RCA. He was a featured performer on ABC's Ozark Mountain Jubilee and moved to Nashville and joined the Grand Ole Opry in 1957.

On July 14, 2006, Wagoner was hospitalized and underwent surgery for an abdominal aneurysm. A good prognosis was expected[1].

Television show

The Porter Wagoner Show ran on syndicated television for nineteen years from 1960 to 1979. At its peak it was featured in over 100 markets, with three million-plus viewers. The regular cast included:

Singer Norma Jean (Beasler) 1960-67
Singer Dolly Parton 1967-74
Singer Mel Tillis
Comedian Speck Rhodes
Announcer Don Howser
The house band The Wagonmasters
Buck Trent on banjo and guitar
George McCormick on rhythm guitar
Don Warden on steel guitar
Mack Magaha on fiddle
Michael Treadwell on bass

Chart success

The Best of Porter Wagoner and Dolly Parton, RCA, 1971Wagoner was elected to the Country Music Hall of Fame in 2002. His eighty-one charted records include "Misery Loves Company" (#1, 1962), "I've Enjoyed As Much of This As I Can Stand" (#7, 1962-1963), "Sorrow on the Rocks" (#5, 1964), "Green, Green Grass of Home" (#4, 1965), "Skid Row Joe" (#3, 1965-1966), "The Cold Hard Facts of Life" (#2, 1967), and "The Carroll County Accident" (#2, 1968-1969). Among his hit duets with Dolly Parton were a cover of Tom Paxton's "The Last Thing on My Mind" (1967), "We'll Get Ahead Someday" (1968), and "Better Move it on Home" (1970). He also won 3 Grammy Awards for gospel recordings.

Later career

He has produced many records and appeared in the Clint Eastwood film Honkytonk Man. Wagoner's positive attitude and engaging persona have made him an ambassador for country music. He appears regularly on the Grand Ole Opry and tours actively as he approaches eighty years of age. He also made a guest appearance on the HBO comedy series "Da Ali G Show", being interviewed by the fictional character Borat, in its second season.

George Hamilton (actor)
From Wikipedia, the free encyclopedia

George HamiltonGeorge Hamilton (born August 12, 1939, in Memphis, Tennessee) is an American film and television actor and occasional film director who lives in Malibu, California.

Life and career

Hamilton began his movie career in 1952. As an actor, he is often compared to (and sometimes confused with) Warren Beatty. He is noted for his perpetual suntan and his colorful private life.

Hamilton was married to actress Alana Stewart from 1970 to 1975. Their son, Ashley Hamilton, was born in 1974. He has a younger son named George Thomas Hamilton with Kimberley Backford.

Hamilton was a semi-regular panelist on the 1998 revival of Match Game.

In 2003, George hosted The Family, a reality television series on ABC spanning one season in 2003. It starred ten members from a traditional Italian-American family, who were each fighting for a $1,000,000 prize.

In 2006 the debonair actor competed in the second season of ABC's "Dancing with the Stars"and was voted off in round 6. At age 66 and recovering from knee injuries, Hamilton - unable to match the limber dance moves of his younger co-stars - charmed the crowd and judges with endearingly silly dances utilizing props including a Zorro mask and sword from his 1981 film Zorro, The Gay Blade.

PET RULES

To be posted VERY LOW on the refrigerator door - nose height.


Dear Dogs and Cats,

The dishes with the paw print are yours and contain your food. The other dishes are mine and contain my food. Please note, placing a paw print in the middle of my plate and food does not stake a claim for it becoming your food and dish, nor do I find that aesthetically pleasing in the slightest.

The stairway was not designed by NASCAR and is not a racetrack. Beating me to the bottom is not the object. Tripping me doesn't help because I fall faster than you can run.

I cannot buy anything bigger than a king sized bed. I am very sorry about this. Do not think I will continue sleeping on the couch to ensure your comfort. Dogs and cats can actually curl up in a ball when they sleep. It is not necessary to sleep perpendicular to each other stretched out to the fullest extent possible. I also know that sticking tails straight out and having tongues hanging out the other end to maximize space is nothing but sarcasm.

For the last time, there is not a secret exit from the bathroom. If by some miracle I beat you there and manage to get the door shut, it is not necessary to claw, whine, meow, try to turn the knob or get your paw under the edge and try to pull the door open. I must exit through the same door I entered. Also, I have been using the bathroom for years --canine or feline attendance is not required.

The proper order is kiss me, then go smell the other dog or cat's butt. I cannot stress this enough!

To pacify you, my dear pets, I have posted the following message on our front door:
To All Non-Pet Owners Who Visit & Like to Complain About Our Pets:
1. They live here. You don't.
2. If you don't want their hair on your clothes, stay off the furniture. (That's why they call it "fur"niture.)
3. I like my pets a lot better than I like most people.
4. To you, it's an animal. To me, he/she is an adopted son/ daughter who is short, hairy, walks on all fours and doesn't speak clearly.

Remember: Dogs and cats are better than kids because they:
1. Eat less
2. Don't ask for money all the time
3 Are easier to train
4. Normally come when called
5. Never ask to drive the car
6. Don't hang out with drug-using friends
7. Don't smoke or drink
8. Don't have to buy t he latest fashions
9. Don't want to wear your clothes
10. Don't need a gazillion dollars for college, and...
11. If they get pregnant, you can sell their children.

Good morning, WA2K radio listeners and contributors. Well, our hawkman was up early today. Thanks again, Boston Bob, for the great celeb backgrounds. I think we know most of them, but Cantinflas illudes me, somehow. Perhaps when our Raggedy reminds us with her photos, that will activate our RNA.

Love your pet funnies, honey. Gave us a smile, and that is something we can all use today.

Before I forget, folks, here's a birthday song for someone I know and love:



Windy
The Association
(Ruthann Friedman)

Who's peekin' out from under a stairway
Calling a name that's lighter than air
Who's bending down to give me a rainbow
Everyone knows it's Windy

Who's tripping down the streets of the city
Smilin' at everybody she sees
Who's reachin' out to capture a moment
Everyone knows it's Windy

And Windy has stor-my eyes
That flash at the sound of lies
And Windy has wings to fly
Above the clouds (above the clouds)
Above the clouds (above the clouds)

------ flute ------

And Windy has stor-my eyes
That flash at the sound of lies
And Windy has wings to fly
Above the clouds (above the clouds)
Above the clouds (above the clouds)

Who's tripping down the streets of the city
Smilin' at everybody she sees
Who's reachin' out to capture a moment
Everyone knows it's Windy
[repeat and fade]

Hey. That gave me a lift.

Good morning. I'm laughing at Bob's pet rules.

This is Cantinflas:




Wishing all a lovely day.

Well, folks. There's our Raggedy with reminders. Once again, PA, we salute you on your fantastic collage.

Hmmm. Unfortunately, your Cantinflas photo did not filter through, but we salute the man for his daring character in taking on the elite of Mexico.

I am not certain if Cantinflas did this song or not, folks, but I thought that I would give it a spin:


Que Lastima Lyrics

Y nosotros los pobres borrachos.

Nadie no quieren cojer.

Nuestro corazon no es tan

malo, pero no tenemos mujer.



Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima



Nosotros tenemos cerveza,

tambien tenemos tiempo.

Importante tener pocos pesos.

Mi suerte es mala siempre.



Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima



Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima

Que Lastima



Y nosotros los pobres borrachos.

Nadie no quieren cojer.

Nuestro corazon no es tan

malo, pero no tenemos mujer.



Que Lastima

Que Lastima

Que Lastima

later, perhaps we can find a translation

Good morning all. Anyone fancy some…

Slow Summer Dancin' (One Summer Night) Lyrics
Beach Boys Lyrics


I'll set the stage while she's still dancing
I'll make the music soft and slow
Then I'll turn down the lights
Make things just right
For every slow song that we know

Over and over again
One summer night
(Do do do)

We fell in love
One summer night
I held you tight
(One summer, one summer)
You and I
(One summer, one summer)
Under the moon for love
(Ooo one summer, one summer)

We'll spin around this room together
I'll treat my angel really nice
We'll fall in love, we'll fall forever
Thank God for lazy summer nights

Over and over again
One summer night
(Do do do)

(One summer, one summer)
I kissed your lips
(One summer, one summer)
One summer night
(One summer, one summer)
I held you close
(One summer, one summer)
You and I
(One summer, one summer)
Under the moon of love
(Ooo one summer, one summer)
(One summer, one summer)
One summer night

(One summer, one summer)
(One summer, one summer)
(One summer, one summer)
(One summer, one summer)
(One summer, one summer)
(One summer, one summer)
One summer night
(One summer, one summer)
Under the moon of love

Well, Try. It is a little sticky and warm for dancing, but my beach was lovely early this morning, boys or no. <smile>

How about, listeners.............



As sung by Della Reese

Something cool
I'd like to order something cool
It's so warm here in town
And this heat gets me down
And I'd like something cool
My, it's nice

Just to sit down and rest awhile
Hey, you know it's a shame
But I can't think of your name
But I remember your smile
Well, I don't ordinarily drink
With strangers
I guess I usually just, just drink alone
But you were so nice to ask me
And I'm so terribly far from home
Like my dress, well, I must confess
It's very old
Hey, but it's simple and neat
And it's just right for this heat
Hey, I will save my furs for the cold
A cigarette, no , I don't smoke them
As a rule
But, I'll have one, it might be fun
With something

I'll bet you wouldn't imagine
But I once had a house
With so many rooms
I couldn't count them all
Yeah, I know you wouldn't imagine
But I had fifteen different guys
Who would beg and beg to take me to a ball
And I know you wouldn't picture me
The time I went to Paris in the fall
Oh who would think the guy I loved
Was quite so handsome and quite so tall

Well, it's through, it's through
That was just a memory I had
One I guess I almost forgot
Oh, 'cause the weather's so hot
And I'm feeling so bad
About a date
Oh wait, I'm such a fool
He's just a guy who stopped to buy me
Something cool

You Took The Words Right Out Of My Mouth
(Hot Summer Night)
MEAT LOAF lyrics -


Spoken:]
[Boy:] On a hot summer night,
would you offer your throat to the wolf with the red roses?
[Girl:] Will he offer me his mouth?
[Boy:] Yes.
[Girl:] Will he offer me his teeth?
[Boy:] Yes.
[Girl:] Will he offer me his jaws?
[Boy:] Yes.
[Girl:] Will he offer me his hunger?
[Boy:] Yes.
[Girl:] Again, will he offer me his hunger?
[Boy:] Yes!
[Girl:] And does he love me?
[Boy:] Yes.
[Girl:] Yes.
[Boy:] On a hot summer night,
would you offer your throat to the wolf with the red roses?
[Girl:] Yes.
[Boy:] I bet you say that to all the boys!

[Sung:]
It was a hot summer night
and the beach was burning.
There was fog crawling over the sand.
When I listen to your heart
I hear the whole world turning.
I see the shooting stars falling
through your trembling hands.

You were licking your lips
and your lipstick shining.
I was dying just to ask for a taste.
We were lying together in a silver lining
by the the light of the moon.
You know there's not another moment
Not another moment
Not another moment to waste.

You hold me so close that my knees grow weak.
But my soul is flying high above the ground.
I'm trying to speak but no matter what I do
I just can't seem to make any sound.

And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.
And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.

Now my body is shaking like a wave on the water
And I guess that I'm beginning to grin.
Oh we're finally alone and we can do what we want to.
The night is young
And Ain't no-one gonna know where you
No-one gonna know where you
No-one's gonna know where you've been.
You were licking your lips
and your lipstick shining.
I was dying just to ask for a taste.
We were lying together in a silver lining
by the the light of the moon.
You know there's not another moment
Not another moment
Not another moment to waste.

And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.
And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true

Just a test, folks. Having a little trouble with our equipment.

Maybe, Try, the problem lies within a question:

Willie Nelson

Have I stayed away too long
Have I stayed away too long
If I came home tonight
Would you still be my darling
Or have I stayed away too long

The love light that shone so strong
Sweet love light that shone so strong
If I came home tonight
Would that same light be shining
Or have I stayed away too long

I'm just outside of town
And I'll soon be at your door
But maybe I'd be wrong
To hurry there
I'd best keep out of town
And worry you no more
Maybe someone else
Has made you care

Have all of my dreams gone wrong
My beautiful dreams gone wrong
If I came home tonight w
Wuld you still be my darling
Or have I stayed away too long

If I came home tonight
Would you still be my darling
Or have I stayed away too long

There I was…

All Revved Up With No Place To Go
MEAT LOAF lyrics -

I was nothing but a lonely boy
Looking out for something new
And you were nothing but a lonely girl
But you were something
Something like a dream come true.

I was a varsity tackle and a hell of a block
When I played my guitar
I made the canyons rock, but
Every Saturday Night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

In the middle of a steamy night
I'm tossing in my sleep
And in the middle of a red-eyed dream

I see you coming
Coming on to give it to me

I was out on the prowl
Down by the edge of the track
And like a son of a jackal
I'm the leader of the pack, but
Every Saturday night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

Oh baby I'm a hunter in the dark of the forest
I've been stalking you and tracking you down
Cruising up and down the main drag all night long
We could be standing at the top of the world
Instead of sinking further down in the mud
You and me 'round about midnight
You and me 'round about midnight
Someone's got to draw first
Draw first
Someone's got to draw first blood
Someone's got to draw first blood
Ooh I got to draw first blood
Ooh I got to draw first blood
I was out on the prowl
Down by the edge of the track
And like a son of a jackal
I'm the leader of the pack, but
Every Saturday night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

I was nothing but a lonely all-American boy
Looking out for something new
And you were nothing but a all-American lonely girl
But you were something like a dream come true.
I was a varsity tackle and a hell of a block
And when I played my guitar
I made the canyons rock, but
But every Saturday Night
I felt the fever grow
All revved up with no place to go

Well, Try. I thought about playing Saturday Night Fever or Staying Alive, but I decided that we didn't need to worry; just stay out of the heat and use a little grease.

Song Lyrics

You're the One That I Want
(From the album "GREASE")

I got chills
They're multiplying
And I'm losing control
'Cause the power you're supplying
It's electrifying!

You better shape up
'Cause I need a man
And my heart is set on you
You better shape up
You better understand
To my heart I must be true
Nothing left
Nothing left for me to do

You're the one that I want
You are the one I want
Oo-oo-oo, honey
The one that I want
You are the one I want
Oo-oo-oo, honey
The one that I want
You are the one I want
Oo-oo-oo, the one I need
Oh, yes indeed

If you're filled
With affection
You're to shy to convey
Better take my direction
Feel your way

I better shape up
'Cause you need a man
I need a man
Who can keep me satisfied
I better shape up
If I'm gonna prove
You better prove
That my faith is justified
Are you sure
Yes I'm sure down deep inside

You're the one that I want
You are the one I want
Oo-oo-oo, honey
The one that I want
You are the one I want
Oo-oo-oo, honey
The one that I want
You are the one I want
Oo-oo-oo, the one I need
Oh, yes indeed

Repeat X 3 (Faded)

We Are The Champions
Words and music by Freddie Mercury

I've paid my dues
Time after time
I've done my sentence
But committed no crime
And bad mistakes
I've made a few
I've had my share of sand
Kicked in my face
But I've come through
And I need to go on and on and on and on

We are the champions - my friend
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the world

I've taken my bows
And my curtain calls
You've bought me fame and fortune
And everything that goes with it
I thank you all
But it's been no bed of roses no pleasure cruise
I consider it a challenge before the whole human race
And I ain't gonna lose
And I need to go on and on and on and on

We are the champions - my friend
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the world

We are the champions - my friend
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions

Right, Try. We keep taking the heat and coming up champs. <smile>

But, buddy:



The Heat Is On

The heat is on
on the street
inside your head on ev'ry beat.
And the beat's alive
deep inside
the pressure's high
Just to stay alive
'cos the heat is on.
Oho
oho
caught up in the action
I'll be looking out for you.
Oho
oho
tell me can you feel it
tell me can you feel it
Tell me can you feel it? The heat is on
the heat is on
the heat is on
It's on the street
the heat is on.
Oho
oho
call me in the action
I am looking affer you
Oho
oho
tell me can you feel it
tell me can you feel it
Tell me do you feel it? The heat is on
The heat is on
the heat is on
burnin'
burnin'
burnin'
It's on the street
the heat is on.
The shadow's high on the darker side
behind the doors
it's a wilder ride.
You can make a breath
you can win or lose.
Well
that's a chance you take when the heat's on you
when the heat is on.
Oho
oho
caught up in the action
I'll be looking out for you
. . .
I can feel the fire - the heat is on -
Flames are burning higher - the heat is on -
Baby
can't you feel it? It's on the street.
The heat is on - I can feel tlle fire - the heat is on.

by Glen Frey. (once more into the frey)

Bing Crosby
In the Cool of the Evening

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Save your pappy a chair
When the party's getting a glow on
And singin' fills the air
In the shank of the night
When the doin's are right
Well you can tell em I'll be there


I like a barbecue
I like to boil a ham
And I vote for bola baste stew
What's that?
I like a weenie bake, steak and a layer cake
And you'll get a tummy ache too
We'll rent a tent or a teepee
Let the town crier cry
"All's well!"
And if it's RSVP
This is what I'll reply


In the cool, cool, cool of the evening
Tell 'em we'll be there
If you need a pair of freeloaders
To fracture your affair
I may even give them Pagliacci
Now stand back and give him air
If one can relax and we'll have a few yaks
And you can tell them we'll be there


"Oui," said the bumblebee
"Let's have jubilee."
"When?" said the prairie hen, "Soon?"
"Sure," said the dinosaur
"Where?" said the grisly bear
"Under the light of the moon."
"How about your brother, jackass?"
Everyone gaily cried
"Are you coming to the fracas?"
Ain't gonna blow it
"And all the respects," he sighed


In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Stick 'em on my hair
If perchance we look a bit peeked
Remember se la guerre
If we're still on our feet
And there's something to eat
Well you can tell them we'll be there


In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Better save a chair
When the party's getting a glow on
And singin' fills the air
If there's gas in my hack
and my laundry is back
If there's room for one more
And you need me
Why sure
If you need a new face or a tenor or base
If I can climb out of bed and put a head on my head
Well you can tell 'em we'll be there.