Like A Sad Song
Usually in the morning I'm filled with sweet belonging
And ev'rything is beautiful to see
Even when it's raining, the sound of heaven singing
Is simply joyful music to me.
Sometimes I feel like a sad song
Like I'm all alone without you.
So many diff'rent places, a million smiling faces
Life is so incredible to me
Especially to be near you and how it is to touch you
Oh paradise was made for you and me.
I know that life goes on just perfectly
And ev'rything is just the way that it should be
Still there are times when my heart feels like breaking
And anywhere is where I'd rather be.
Oh and in the night time I know that it's the right time
To hold you close and say I love you so
To have someone to share with
And someone I can care with
And that is why I wanted you to know
Sometimes I feel like a sad song
Like I'm all alone without you, without you.
John Denver
Mind Games
We're playing those mind games together
Pushing the barriers, planting seeds
Playing the mind guerrilla
Chanting the mantra, peace on earth
We all been playing those mind games forever
Some kinda druid dudes lifting the veil
Doing the mind guerrilla
Some call it magic, the search for the grail
Love is the answer and you know that for sure
Love is a flower, you got to let it, you got to let it grow
So keep on playing those mind games together
Faith in the future, outta the now
You just can't beat on those mind guerrillas
Absolute elsewhere in the stones of your mind
Yeah we're playing those mind games forever
Projecting our images in space and in time
Yes is the answer and you know that for sure
Yes is surrender, you got to let it, you got to let it go
So keep on playing those mind games together
Doing the ritual dance in the sun
Millions of mind guerrillas
Putting their soul power to the karmic wheel
Keep on playing those mind games forever
Raising the spirit of peace and love
Love...
(I want you to make love, not war, I know you've heard it before)
John Lennon
I Don't Know How To Love Him
I don't know how to love him.
What to do, how to move him.
I've been changed, yes really changed.
In these past few days, when I've seen myself,
I seem like someone else.
I don't know how to take this.
I don't see why he moves me.
He's a man. He's just a man.
And I've had so many men before,
In very many ways,
He's just one more.
Should I bring him down?
Should I scream and shout?
Should I speak of love,
Let my feelings out?
I never thought I'd come to this.
What's it all about?
Don't you think it's rather funny,
I should be in this position.
I'm the one who's always been
So calm, so cool, no lover's fool,
Running every show.
He scares me so.
I never thought I'd come to this.
What's it all about?
Yet, if he said he loved me,
I'd be lost. I'd be frightened.
I couldn't cope, just couldn't cope.
I'd turn my head. I'd back away.
I wouldn't want to know.
He scares me so.
I want him so.
I love him so.
A. L. Webber
Good morning, WA2K listeners and contributors. Well, it seems that edgar and Rex kept our little station going through the evening, and I know that our night owls appreciated all the songs.
Incidentally, edgar. Now I understand your Buffy project. Thanks for the picture and the explanation, Texas.
We would like to take this opportunity to welcome seibentage to our radio station. Thanks, for the songs, buddy. Stick around because we always appreciate hearing songs from new folks. <smile>
Dedicated to everyone here:
Early morning melody
Playing in the scenery
Of my mind
Rainy days and ocean tides
Through the hills and the greenwood sides
Like a windchime
I think of you that way a lot
Singing to the coffee pot
And the kitchen wall
Always up before the sun
Picking out some pretty run
On the strings like a waterfall
You've given me so many songs
Ones that kept me going on
When I'd wonder why
Weaving through the busy days
They were colors in the misty haze
Like rainbow rhymes
Reminding me that even prison walls
Turn to dust and fall
Before the open sky
And love can find you in the darkest hour
And touch you as a flower
On colored wings...
But I thought I'd let you know
I heard you sing soft and low
When I woke today
I got up to play along
And found myself with a morning song
To send your way
Thanking you for all the times
You've listened to these sunrise lines
I've made for you
I see your face before me now
Smiling as if you know somehow
You've touched my day like the dew
author unknown
Deborah Kerr
From Wikipedia, the free encyclopedia
Born 30 September 1921
Helensburgh, Scotland, UK
Deborah Kerr, CBE (born 30 September 1921) is a Scottish actress and a recipient of an Academy Honorary Award for a motion picture career that has always stood for perfection, discipline and elegance.
Biography
She was born Deborah Jane Kerr-Trimmer in Helensburgh, by the Firth of Clyde, and originally trained as a ballet dancer, first appearing on stage at Sadler's Wells in 1938. Having switched careers, she found immediate success as an actress.
Her debut in the British film, Contraband, in 1940 was left on the cutting room floor. But that was followed by a series of other films, including the triple role of the hero's loves in Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp. It was her role as a troubled nun in Powell and Pressburger's Black Narcissus in 1947 which brought her to the attention of Hollywood producers.
Although the Scottish pronunciation of her surname is straightforward, when she was being promoted as a Hollywood actress, her last name was pronounced the same as "car". In order to avoid confusion over pronunciation, the slogan "Kerr rhymes with Star" was used.
Her "English" accent and manner led to a succession of roles as a "refined, proper lady." Kerr broke through this typecasting with her performance as Karen in From Here to Eternity (1953) for which she received an Oscar nomination for Best Actress. The American Film Institute acknowledged the iconic status of Kerr's famous scene from that film, in which she and Burt Lancaster make love on the sand in Hawaii amidst the crashing waves, when the organization named it one of "AFI's top 100 Most Romantic Films" of all time.
From then on Kerr's career choices afforded her one of the most versatile screen personas in Hollywood, ranging from nuns (Heaven Knows, Mr. Allison) and mama's girls (Separate Tables) to an earthy sheepherder's wife (The Sundowners) to lustful and beautiful screen enchantresses (Beloved Infidel, Bonjour tristesse) and delicious comedy (The Grass is Greener).
Kerr's most famous roles are probably as Anna Leonowens in the film version of the Rodgers and Hammerstein musical The King and I and opposite Cary Grant in An Affair to Remember. In 1969, she appeared nude in John Frankenheimer's The Gypsy Moths.
A stage actress as well, Kerr made her Broadway debut in 1953 in Robert Anderson's Tea and Sympathy, for which she received a Tony award nomination. Kerr repeated her role along with her stage partner John Kerr (actor) (no relation) in Vincente Minnelli's film adaptation of the drama. In 1955, Kerr won the Sarah Siddons Award for her performance in Chicago during a national tour of the play. In 1975, she returned to Broadway, originating the role of Nancy in Edward Albee's Pulitzer Prizewinning play, Seascape.
She experienced a career resurgence in the early 1980s on television, when she played the role originally brought to life on film by Elsa Lanchester, in Witness for The Prosecution. Later, Kerr re-teamed with multiple screen partner Robert Mitchum in Reunion at Fairborough. This period also saw Kerr take on the role as the older version of the female tycoon, Emma Harte, in the adaptation of Barbara Taylor Bradford's A Woman of Substance. For this performance, Kerr was nominated for an Emmy award.
Deborah Kerr has been married twice. First, on 28 November 1945, she married Squadron Leader Anthony Bartley. They had two daughters, Melanie Jane, born on 27 December 1947 and Francesca Ann. She and Bartley divorced in 1959. On 23 July 1960, she married writer Peter Viertel.
For her contributions to the motion picture industry, Deborah Kerr has a star on the Hollywood Walk of Fame at 1709 Vine Street.
In 1998, The Queen appointed Kerr as a Commander of the British Empire, after an intensive lobbying effort and letter-writing campaign by screenwriter, Michael Russnow, of West Hollywood, California. According to Russnow, he and other writers petitioned the British government to bestow upon Kerr the title of "Dame," (the feminine equivalent of "Knight,") but Kerr's then-expatriate status probably worked against her. Although there have been repeated subsequent attempts to gain this for Kerr, including Letters to the Editor and Articles in the major British dailies (The Scottish Sun, Friday, March 24, 2000, pp. 46-47), she has not yet received that higher honor.
Kerr suffers from Parkinson's disease, and though she long resided in Switzerland and Spain, Kerr has since moved back to The British Isles, specifically to England, to be closer to her children.
Angie Dickinson
From Wikipedia, the free encyclopedia
Angie Dickinson (born September 30, 1931 at 6:15PM in Kulm, North Dakota) is a famous American television and film actress who is probably best-known for her role as sultry Sgt. Leanne "Pepper" Anderson of the popular 1970s crime drama, Police Woman. She also co-starred in Rio Bravo with John Wayne, and in Point Blank with Lee Marvin, and she appeared both the 1960 and 2001 versions of Ocean's Eleven, with her ex-boyfriend Frank Sinatra, and George Clooney, respectively. She would win the Saturn Award in 1981 for her role as Kate Miller in Dressed to Kill.
Early life
The daughter of a small-town newspaper publisher, Dickinson was born Angeline Brown, the middle of three sisters, in Kulm, North Dakota, to parents Frederica and Leo H. Brown. She was considered a cute child from an early age. Her first job was to sell Hershey's Kisses for five cents, so her siblings could buy ice cream cones. Her family moved to Burbank, California in 1942, when Angie was 11. While a student at Bellamarine Jefferson High School, she won the Sixth Annual Bill of Rights essay contest late in 1946. She was popular with her class. In 1947, at age 15, she graduated from high school. At the same time, she was also looking for a job. Prior to attending Glendale Community College and before transferring to Immaculate Heart College, she took a position as a secretary at the former Burbank Airport (now Bob Hope Airport), working in a parts factory from 1950 to late 1952. In 1953, she placed second in a beauty pageant. The following year, she graduated from Immaculate Heart College with a degree in business. She originally intended to be a writer, having grown up with a publishing father.
When she married a football player, she decided to use the name Angie Dickinson and to pursue an acting career. She was approached by NBC to guest-star on a number of variety shows, including The Colgate Comedy Hour, and became a member of the Rat Pack during which time she worked with longtime friend Frank Sinatra. The two would later star in the film Ocean's Eleven and she would remain on good terms with Sinatra until his death in 1998.
Beginnings as a character actress
After conquering the beauty pageant trail, and beginning to establish a name for herself on the big screen, Dickinson became one of the more versatile, popular and younger leading character actors of the 1950s and 1960s, guest-staring in dozens of TV series. On New Year's Eve 1954, she made her acting debut in an episode of Death Valley Days. This part led to other roles in such productions as Buffalo Bill Jr, eight episodes of Matinee Theatre, General Electric Theater, The Life and Legend of Wyatt Earp, Broken Arrow, Gunsmoke, Cheyenne, Meet McGraw, The Restless Gun, Perry Mason, Mike Hammer, Wagon Train, Men Into Space, and a memorable turn as the duplicitous murder conspirator in a 1964 episode of the classic The Fugitive series with David Janssen and fellow guest starRobert Duvall. In 1965, she had a recurring role as Carol Tredman on Dr. Kildare. As a result, Dickinson was becoming a recognizable name to many viewers.
Leading lady at last
Though Dickinson enjoyed a somewhat successful movie career for nearly two decades, working with many revered directors and most of the top leading men of the 1950s and '60s, she never quite rose above the status of attractive, reliable working actress--- real stardom would come later... At first, she played small roles in Lucky Me (a 1954 cameo) with Doris Day, The Return of Jack Slade (1955), Man with the Gun (1955), and Hidden Guns (1956). She had her first starring role in Gun the Man Down (1956) with James Arness, and the Sam Fuller cult film China Gate (1957) which gave an early political view of internal conflicts in Viet Nam; her career rose gradually from there.
Rejecting the Marilyn Monroe/Jane Mansfield image of over-done platinum bleach-blonde stardom because she realized it would narrow her acting options, Dickinson, who at first would only allow the studio to lighten her naturally-brunette hair to a honey-blonde color, instead studied her craft and wanted very much to be "good".
Casting directors and audiences would inevitably begin to notice that Angie Dickinson had an unusual kind of enigmatic charisma and an ironic, albeit seductive, delivery-- both femininely fluttery yet undeniably edgy; visually, she was also armed with a fine physique, great legs, deepset brown eyes that could read as either warmly receptive or aloofly dismissive, and an interesting, strikingly lovely face which photographed as oval from the front but angular in profile, resembling something akin to a Venusian goddess. Angie's atypical screen presence intially caused critics to praise her-- if not always the films she was in-- those same critics lamenting that the Old Studio System was in shambles and that promising newcomers such as she were not being properly groomed, valued or protected.
Eventually, despite her initial resisitance, she would become one of Hollywood's more notable sex symbols... She also starred in B-movies early on, mostly westerns, including Shoot-Out at Medicine Bend (1957) co-starring onscreen with legendary actor James Garner, which merited her more respect from the industry.
In another western, a film that would propel her into Hollywood's A-list, Howard Hawks' Rio Bravo (1959), she played a flirtatious gambler named Feathers who is almost locked up by the town sheriff played by Angie's child-hood idol John Wayne; the film co-starred Dean Martin, Ricky Nelson and Walter Brennan. Understandably peeved when Hawks sold his personal contract with Angie to a major studio after "Rio Bravo" without her knowledge, her hopes of the legendary director moulding her into the next Lauren Bacall seemed dashed.
In the early 1960s, she starred in numerous movies, making her one of the more prominent leading ladies of the decade, co-starring in The Bramble Bush with Richard Burton and Ocean's Eleven, (both released in 1960) with Frank Sinatra. These were followed by the political potboiler A Fever in the Blood (1961); a Belgian Congo-based melodrama The Sins of Rachel Cade (1962) in which she played a missionary nurse tempted by earthly lust; and the European travelogue Rome Adventure (also known as "Lovers Must Learn") in 1962, where Dickinson gets to dish comparatively wicked seductress dialogue; and Jean Negulesco's Jessica (1962) with Maurice Chevalier, in which she plays the straightlaced-but-carnal young woman of Italian heritage working as a midwife but resented by the wives of the town's lusting men. Angie would also share the screen with friend Gregory Peck in the comedy-drama Captain Newman, M.D.
In The Killers, a film originally intended to be the very first made-for-TV movie but sent to the theatres due to its violent content, Angie is slapped by a villainous boyfriend, played by future U.S. President Ronald Reagan in his last movie role. (Dickinson was also rumored to have been romantically involved with John F. Kennedy at one time, thereby providing two intriguing connections to American presidents). She also co-starred in the so-so comedy The Art of Love (1965), in which she plays the love interest of both James Garner and Dick Van Dyke.
She also enjoyed moderate success in a string of movies made during the latter part of the 1960s and into the 1970s: the Arthur Penn/Sam Spiegel production, The Chase (1966), flooded with present-and-future stars like Marlon Brando, Jane Fonda, Robert Redford, Robert Duvall, Miriam Hopkins and others; despite the potential in front and behind the camera, the more controversial aspects of the Lillian Hellman script were blocked, and the film languished in mediocrity--- though its obviously considered a curio today for the cast.
Having married in 1965, Dickinson began to put her career on the back-burner temporarily, though she still appeared in the occasional picture. She would film the westerns The Last Challenge (1967) with Glenn Ford, and the dreary comedy Some Kind of Nut (1969); but arguably her best motion picture of this era was John Boorman's urban, starkly late-'60s cult classic Point Blank (1967) with Lee Marvin as a vengeful Alcatraz escapee, although the movie wouldn't find an audience or undergo critical re-discovery for several years. She starred in another Western, Young Billy Young (1969) with Robert Mitchum and Jack Kelly, as well as Sam Whiskey (1969) where she gave a young Burt Reynolds his first on-screen kiss. She played an lascivious highschool teacher in the dark comedy Pretty Maids All in a Row (1971) with Telly Savalas and Rock Hudson; and portrayed a scary doctor in the sci-fi flick The Resurrection of Zachary Wheeler (1971)... One of her best, and best-remembered, movie roles was as the tawdry widow Wilma in Big Bad Mama (1974) with William Shatner and Tom Skerritt, a sexy Depression Era romp in which gorgeous Angie set tongues wagging with her nude scenes--- something unheard of at that time for a 42-year-old star to submit to.
Television work
Police Woman
After years of turning down many roles due to her daughter's needs, as well as Dickinson's desire to avoid the grueling schedule involved in a weekly TV series, Dickinson came to the small screen in March 1974 to play a character on an episode of the critically-acclaimed hit anthology series Police Story. That one guest appearance proved to be so popular that NBC had decided to turn it into a weekly detective series to be called Police Woman, which would make her the first successful female TV police officer. (Beverly Garland and Anne Francis had actually done it first, but their shows had been short-lived). In a role which proved to solidify and re-define Angie Dickinson's status now as a genuine star, she pioneered over-40 sex symbolism --- the series becoming the first successful primetime drama series in history to feature a woman in the title role. She became a pop icon of the 1970s, as Police Woman was seen in over 70 countries, becoming the Number One show in many of them, including in the United States briefly during the Summer reruns in its first season. (It was essentially NBC's feminine answer to both successful 1970s crime drama series, Kojak and The Rockford Files, two series airing concurrently on two different networks). On Police Woman, she played Sgt. Leanne "Pepper" Anderson, a cool, sexy and classy blonde member of the Los Angeles Police Department Criminal Conspiracy Unit during which she would often adopt any number of undercover guises to lure the thugs to justice--- a tough but lovely broad. Co-starring on the show were actors, Earl Holliman (who replaced Bert Convy of Tattletales and Super Password fame, who had portrayed Crowley in the pilot episode), as Sgt. Anderson's half-Italian commanding officer and long-time friend, Sergeant Bill Crowley, and Ed Bernard and Charles Dierkop as Investigators Joe Styles and Pete Royster, respectively... On the first day of shooting, both Dickinson and Holliman realized the chemistry between the two worked very well, and the writers quickly began writing to this. (Amusingly, her characters name, 'Sergeant Pepper' and the glaring connection to the legendary Beatles album was virtually never acknowledged.)
In early 1976, she and co-star (Earl Holliman) were both invited to the Television Broadcasters' Awards to praise the actor's achievement. He lauded the veteran actress's career accomplishments, including her work with such late actors as Frank Sinatra and John Wayne, both of whom acted with Dickinson earlier in her career.
On many occasions, Dickinson gave her boss's daughter a chance to play the role of her autistic young sister, Cheryl, during the 1974 season; the role lasted only a few episodes.
In its first season particularly --- generally regarded as the show's best year (before the content was subsequently softened and some of the energy drained) Police Woman was a ratings winner among many other popular 1970s detective series, and Dickinson was nominated for three Emmys as Outstanding Lead Actress in a Drama Series between 1975 and 1977, but did not win. She was also nominated for four Best Actress in a Drama Series Golden Globes between 1975 and 1978, and won the award once in 1975 for the first season.
As she continued to play the no-nonsense cop, her marriage to famed composer Burt Bacharach was in serious turmoil, but she found herself unable to attend very easily to her domestic problems due to the overwhelming hours involved in making the series. By the end of its fourth season in 1978, Police Woman had by far its most difficult year, with the ratings dropping due to increasing schedule changes by NBC and a level of crispness mostly missing from the program--- it was now far from the dynamic, focused, trendsetting series it had started-out as in 1974-1975; the character of Pepper seemed less mesmerizing sleuth she once was than superfluous window-dressing, the scripts largely lacking the intelligence seen earlier, the formerly taut, even cinematic, direction now by rote.
Subsequently, NBC decided to cancel the series after four seasons and 91 episodes. But by all accounts, Dickinson enjoyed playing the alluring cop on one of television's most influential cop shows ever, and will likely always be fondly remembered for it. (The same year the show came to an end, she reprised her Pepper Anderson role on the television special, Ringo, co-starring with Ringo Starr and the late John Ritter; she also parodied the part in 1975 and 1979 Bob Hope Christmas Special for NBC; she would do the same years later on the 1987 Christmas episode of NBC's Saturday Night Live.)
The impact of Police Woman resulted not only in a rash of sexy-but-strong female-driven series (mostly of a more fanciful nature) like Charlie's Angels, The Bionic Woman and Wonder Woman during the late-'70s, but Angie Dickinson's show inspired a spate of applications from women for employment to police departments around the country--- the effect was seismic; in recent years, journalists have been surprised by how often the Police Woman series has been referenced when asking long-time police women about what inspired them to join the force.
In 1987, the Los Angeles Police Department issued an Honorary Doctorate (the apparently give those) to Miss Dickinson, to which she responded, "now you can call me 'Doctor Pepper'".
Leading 1980s actress
After appearing in TV mini-series like Pearl (1978) and during the time of a devastating divorce she did not want, Angie Dickinson returned to the big screen in Brian De Palma's thriller Dressed to Kill (1980), which earned her a 1981 Saturn Award for Best Actress; loved by some, derided by others (largely for the violence and a certain crassness), the film featured Dickinson in a 35-minute role early in the film in which her character is brutally done-in in an elevator. Critics hailed the actress's performance and, today, the film is viewed as a serious entry in the macabre genre, with Angie's silent stalking thru the maze of a New York City museum one of the picture's stylistic highlights.
Despite the career highs of Police Woman in the '70s and Dressed to Kill in 1980, Dickinson's focus as an actress now had begun to wane somewhat-- in the 60s and thru the early-70s, critics had never questioned her ability.
She had a less-substantial role in Death Hunt with Charles Bronson in 1981, as well as Charlie Chan and the Curse of the Dragon Queen. Earlier that year, she had been producers' first choice to play 'Krystle Carrington' on Dynasty TV series, but Dickinson turned down the role and it ultimately went to Linda Evans. She tried to make a comeback on TV with Cassie & Co., but the show failed to attract much attention. She also starred in several TV-movies such as, One Show Make it Murder(1983), Jealousy(1984), A Touch of Scandal(1984), Hollywood Wives(1985), and Stillwatch(1987).
At the time considered the very definition of middle-aged sex-appeal, in 1982 a collection of Hollywood Designers and Make-up artists compiled a list of Best Female Star Bodies--- with Angie Dickinson, at age 50 (and pre-surgery) at Number One.
On the big screen, she reprised her role as Wilma in Big Bad Mama II (1987), and completed the TV movie Kojak: Fatal Flaw, in which she was reunited once again with old friend Telly Savalas. She co-starred with Willie Nelson and numerous old buddies in the 1988 TV-western Once Upon a Texas Train.
1990s and later work
As she approached her sixties, Angie Dickinson wasn't always getting the best roles, but she kept active and working.
In addition to appearing in the Oliver Stone-produced futuristic shocker TV-miniseries Wild Palms (1993) in which she played a sadistic wife of a media mogul, Angie starred as a ruthless Montana spa owner in Gus Van Sant's too-bizarre-to-be-believed Even Cowgirls Get the Blues (1993) with Uma Thurman and a cast of stellar cameos--- which couldn't save the picture, generally cited as the Single Worst Movie of the 1990's; Dickinson played Burt Reynolds's wife in The Maddening (1995) - a middling thriller; she appeared in the 1995 remake of Sabrina with Harrison Ford; and she also co-starred with Rick Aiello and Robert Cicchini as their mother in the National Lampoon's The Don's Analyst comedy.
As the new millennium approached, she played an alcoholic homeless mother to Helen Hunt in Pay it Forward (2000) with Kevin Spacey; mother to Gwyneth Paltrow in Duets (2001); and as Arliss Howard's mother in the critically well-received though little-seen Big Bad Love (2001) with Debra Winger.
Finally, she returned to make a cameo as herself in Ocean's Eleven (2001), a stylish remake of a less-skillful Rat Pack heist film produced four decades earlier.
Personal life
In 1952, Angie married Gene Dickinson, a former football player. While Angie was busy working on guest-starring roles, she also began dating Frank Sinatra. The marriage to Dickinson ended in divorce 1960.
She was married to musician/composer Burt Bacharach from 1965-1980, with whom she has a daughter. In addition, she is alleged to have been one of John Fitzgerald Kennedy's mistresses; when asked about the rumored affair, she is privately to have said, "It was the best 20 seconds of my life," but when pressed on the issue publicly, as she was by interviewer John Tesh in 1993, the cagey Dickinson reluctantly stated that reports of an affair between herself and the fallen President are "unfounded". (Supposedly, FBI reports from 1960/61 say otherwise, but such reports, if they exist, have never been made public).
A year after she was married, she had a daughter named, Lea Nikki, in 1966, who was born three months premature and much later diagnosed with Asperger's Syndrome.[citation needed] This marriage also ended in divorce after fifteen years.
Dickinson is a recipient of the state of North Dakota's Roughrider Award.
A Girl and her mirror
Mirror, mirror on the wall,
Do you have to tell it all?
Where do you get the glaring right
To make my clothes look just too tight?
I think I'm fine but I can see
you won't co-operate with me;
The way you let the shadows play,
You'd think my hair was getting grey
What's that, you say? A double chin?
No, that's the way the light comes in;
If you persist in peering so,
You'll confiscate my facial glow,
And then if you're not hanging straight,
You'll tell me next I'm gaining weight;
I'm really quite upset with you,
For giving this distorted view;
I hate you being smug and wise...
O, look what's happened to my thighs!
I warn you now, O mirrored wall,
Since we're not on speaking terms at all,
If I look like this in my new jeans,
You'll find yourself in smithereens!!
It's not for me to say
Johnny Mathis
It's not for me to say, you love me
It's not for me to say, you'll always care
Oh.. but here for the moment
I can hold you fast
And press your lips to mine
And dream that love will last
As far as I can see, This is heaven
And speaking just for me, It's ours to share
Perhaps the glow of love will grow
With every passing day
Or we may never meet again
But then it's not for me to say
(Break)
And speaking just for me
It's ours to share
Perhaps the glow of love will grow
With every passing day
Or we may never meet again
But then it's not for me to say
Well, folks, we know how Bob has completed his bio's when we read a funny? Actually, Boston, I now realize why vampires keep their mirrors covered.
Thanks, hawkman, for the great info about the celebs. AMC had "The Innocents" showing last evening with Deborah Kerr, and that was originally called "The Turn of the Screw" by Henry James. The original was an excellent study in psychology, but the movie was a ghost story about consummate evil.
edgar, Thanks for following through with a Johnny Mathis song. Great, Texas.
I am certain that our Raggedy will appear with pictures, so we will await further comment after she arrives.
There's our Raggedy, folks, with a marvelous collage of Deborah. Interesting how she played a nun and then evolved to that torrid scene on the beach. <smile> Well, for Cary and Deborah:
Nat King Cole
» An Affair To Remember (our Love Affair)
Our love affair is a wondrous thing
That we'll rejoice in remembering
Our love was born with our first embrace
And a page was torn out of time and space
Our love affair, may it always be
A flame to burn through eternity
So take my hand with a fervent prayer
That we may live and we may share
A love affair to remember
Good morning I said, how did you get in
She Came In Through The Bathroom Window
JOE COCKER Lyrics »
She came in through the bathroom window
Protected by a silver spoon
But now she sucks her thumb and wonders
By the banks of her own lagoon
She said she's always been a dancer
She worked at fifteen clubs a day
And though she thought I knew the answer
Well I knew what I could not say
Didn't anybody tell her
Didn't anybody see
Sunday's on the phone to Monday
Tuesday's on the phone to me
And so I quit the Police Department
And got myself a steady job
And though she tried her best to help me
She could steal, but she could not rob
Repeat Chorus 2X
Well, there's our Try. So you quit the police department? Sting and the Police have something to say about that.
Synchronicity
Another suburban family morning
Grandmother screaming at the wall
We have to shout above the din of our Rice Crispies
We can't hear anything at all
Mother chants her litany of boredom and frustration
But we know all her suicides are fake
Daddy only stares into the distance
There's only so much more that he can take
Many miles away
Something crawls from the slime
At the bottom of a dark Scottish lake
Another industrial ugly morning
The factory belches filth into the sky
He walks unhindered through the picket lines today
He doesn't think to wonder why
The secretaries pout and preen like
cheap tarts in a red light street
But all he ever thinks to do is watch
And every single meeting with his so-called superior
Is a humiliating kick in the crotch
Many miles away
Something crawls to the surface
Of a dark Scottish lake
Another working day has ended
Only the rush hour hell to face
Packed like lemmings into shiny metal boxes
Contestants in a suicidal race
Daddy grips the wheel and stares alone into the distance
He knows that something somewhere has to break
He sees the family home now looming in the headlights
The pain upstairs that makes his eyeballs ache
Many miles away
There's a shadow on the door
Of a cottage on the shore
Of a dark Scottish lake
Many miles away, many miles away
Bob Seger
Fire Lake Lyrics
Whos gonna ride that chrome three wheeler
Whos gonna make that first mistake
Who wants to wear those gypsy leathers
All the way to fire lake
Who wants to break the news about uncle joe
You remember uncle joe
He was the one afraid to cut the cake
Who wants to tell poor aunt sarah
Joes run off to fire lake
Joes run off to fire lake
Who wants to brave those bronze beauties
Lying in the sun
With their long soft hair falling
Flying as they run
Oh they smile so shy
And they flirt so well
And they lay you down so fast
Till you look straight up and say
Oh lord
Am I really here at lost
Who wants to play those eights and aces
Who wants a raise
Who needs a stake
Who wants to take that long shot gamble
And head out to fire lake
Head out
Who wants to go to fire lake
And head out
Who wants to go to fire lake
Head out
Out to fire lake
Whos gonna do it
Ah, Try. I've seen fire and I've seen lakes, buddy, but this one is for you:
Doobie Brothers:
Well, I built me a raft and shes ready for floatin
Ol mississippi, shes callin my name
Catfish are jumpin
That paddle wheel thumpin
Black water keeps rollin on past just the same
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Yeah, keep on shinin your light
Gonna make everything, pretty mama
Gonna make everything all right
And I aint got no worries
cause I aint in no hurry at all
Well, if it rains, I dont care
Dont make no difference to me
Just take that street car thats goin up town
Yeah, Id like to hear some funky dixieland
And dance a honky tonk
And Ill be buyin evrybody drinks all roun
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Old black water, keep on rollin
Mississippi moon, wont you keep on shinin on me
Yeah, keep on shinin your light
Gonna make everything, pretty mama
Gonna make everything all right
And I aint got no worries
cause I aint in no hurry at all
Id like to hear some funky dixieland
Pretty mama come and take me by the hand
By the hand, take me by the hand pretty mama
Come and dance with your daddy all night long
I want to honky tonk, honky tonk, honky tonk
With you all night long
Oh, those
Nights In White Satin
Moody Blues
Nights in white satin,
Never reaching the end,
Letters Ive written,
Never meaning to send.
Beauty Id always missed
With these eyes before,
Just what the truth is
I cant say anymore.
cause I love you,
Yes, I love you,
Oh, how, I love you.
Gazing at people,
Some hand in hand,
Just what I'm going thru
They can understand.
Some try to tell me
Thoughts they cannot defend,
Just what you want to be
You will be in the end,
And I love you,
Yes, I love you,
Oh, how, I love you.
Oh, how, I love you.
Nights in white satin,
Never reaching the end,
Letters Ive written,
Never meaning to send.
Beauty Id always missed
With these eyes before,
Just what the truth is
I cant say anymore.
Have you ever been to the Tryon Palace, try? A bit of history there, buddy.
Loved your "Nights in White Satin" and I believe that song was loosely based on a Mozart song.
How about a song by Van, listeners:
Into the Mystic
We were born before the wind
Also younger than the sun
Ere the bonnie boat was won as we sailed into the mystic
Hark, now hear the sailors cry
Smell the sea and feel the sky
Let your soul and spirit fly into the mystic
And when that fog horn blows I will be coming home
And when the fog horn blows I want to hear it
I don't have to fear it
And I want to rock your gypsy soul
Just like way back in the days of old
And magnificently we will flow into the mystic
When that fog horn blows you know I will be coming home
And when that fog horn whistle blows I got to hear it
I don't have to fear it
And I want to rock your gypsy soul
Just like way back in the days of old
And together we will flow into the mystic
Come on girl...
Too late to stop now...
I Started A Joke
The Bee Gees
I started a joke
Which started the whole world crying
But I didn't see
That the joke was on me oh no
I started to cry
Which started the whole world laughing
Oh, If I'd only seen
That the joke was on me
I looked at the skies
Running my hands over my eyes
And I fell out of bed
Hurting my head
From things that I said
'Till I finaly died
Which started the whole world living
Oh, If I'd only seen
That the joke was on me
I looked at the skies
Running my hands over my eyes
And I fell out of bed
Hurting my head
From things that I said
'Till I finaly died
Which started the whole world living
Oh, If I'd only seen
That the joke was on me
Oh no, that the joke was on me
Stanley Holloway
From Wikipedia, the free encyclopedia
Born 1 October 1890
London, England, UK
Died 30 January 1982
Littlehampton, England, UK
Stanley Augustus Holloway (October 1, 1890 - January 30, 1982) was an English actor and entertainer famous for his comic and character roles on stage and screen. He was also renowned for his recordings of comic monologues.
Life
He was born on the 1 October 1890 in Manor Park, East Ham, London, England, and attended Carpenters School in Stratford nearby. His first job was as a clerk in Billingsgate fish market, but from 1907 he was performing in end of pier concert parties at English east coast seaside resorts, including Walton-on-the-Naze and Clacton-on-Sea where he appeared for three years in Bert Graham and Will Bentley's concert party at the West Cliff Theatre, 1911 - 1913. He was then recruited by established comedian Leslie Henson to feature as a support in Henson's own more prestigious concert-party. He planned a career as a singer and went to Milan to train his voice but the outbreak of war in 1914 changed his plans.
During World War One he enlisted in the Connaught Rangers infantry regiment.
After the war he found his first big success is the show The Co-Optimists which ran from 1921 until 1927 and was then filmed. A second run of the show from 1929 developed his comic song and monologue repertoire which launched his recording career with records of his own created character, "Sam Small," and Marriott Edgar's "The Ramsbottoms" selling world wide.
He spent the 1930s appearing in a series of cheaply made movies but which included some notable work in Squibs (1935) and The Vicar of Bray (1937).
His career changed again in 1941 when he played in a major film production of George Bernard Shaw's Major Barbara. He then took patriotic, morale boosting, light comic roles in The Way Ahead (1944), This Happy Breed (1944) and The Way to the Stars (1945).
After World War Two he had notable roles in the smash hit Brief Encounter , as Mr Crummles in Nicholas Nickleby, and a cameo role as the grave digger in Laurence Olivier's Hamlet.
He then became a mainstay of the Ealing Comedies productions, making classics like Passport to Pimlico, The Lavender Hill Mob and The Titfield Thunderbolt.
His film output had made him enough of a public name in the United States to land him the part of Alfred P. Doolittle in the Broadway stage smash hit My Fair Lady, after Jimmy Cagney turned it down. He had a long association with the show appearing in the original 1956 Broadway production, the 1958 London version and the film version of 1964. He entitled his autobiography Wiv a Little Bit of Luck after the song he performed in these productions. He received his only Academy Award nomination for the performance, but lost to Peter Ustinov.
He was still performing English character parts into his eighties. He died in a Littlehampton nursing home on 30 January 1982, aged 91. His son is the actor Julian Holloway, best known for being in some of the 'Carry On films. His granddaughter is the actress and model Sophie Dahl.
