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WA2K Radio is now on the air

 
 
Letty
 
  1  
Reply Tue 27 Feb, 2007 07:00 pm
dys, that is the most unusual song. Is there any particular meaning behind it? Generally, I don't try to interpret lyrics, but some are simply intriguing. Afraid that I am still a divergent thinker.

Well, there are no stars out to night, folks, but I am thinking about this poem:

When I Heard The Learn'd Astronomer by Walt Whitman.

When I heard the learn'd astronomer;
When the proofs, the figures, were ranged in columns before me;
When I was shown the charts and the diagrams, to add, divide, and
measure them;
When I, sitting, heard the astronomer, where he lectured with much
applause in the lecture-room,
How soon, unaccountable, I became tired and sick;
Till rising and gliding out, I wander'd off by myself,
In the mystical moist night-air, and from time to time,
Look'd up in perfect silence at the stars.
0 Replies
 
Letty
 
  1  
Reply Tue 27 Feb, 2007 07:11 pm
See what I mean, folks? While I was star gazing, edgar crept in with Phil Ochs. Wow, Texas. That theme is familiar, and the ensuing lyrics are a perfect match.

Billy Joel

Got a call from an old friend we'd used to be real close
Said he couldn't go on the American way
Closed the shop, sold the house, bought a ticket to the west coast
Now he gives them a stand-up routine in L.A.

I don't need you to worry for me cause I'm allright
I don't want you to tell me it's time to come home
I don't care what you say anymore this is my life
Go ahead with your own life leave me alone

I never said you had to offer me a second chance
I never said I was a victim of circumstance
I still belong
Don't get me wrong
And you can speak your mind
But not on my time

They will tell you you can't sleep alone in a strange place
Then they'll tell you can't sleep with somebody else
Ah but sooner or later you sleep in your own space
Either way it's O.K. you wake up with yourself
0 Replies
 
dyslexia
 
  1  
Reply Tue 27 Feb, 2007 07:59 pm
another robbie robertson

Virgil Caine is the name and I served on the Danville train
'Til Stoneman's cavalry came and tore up the tracks again
In the winter of '65, we were hungry, just barely alive
By May the tenth, Richmond had fell, it's a time I remember oh so well

The night they drove Old Dixie down and the bells were ringing
The night they drove Old Dixie down and the people were singin', they went
La-la-la la-la-la, la-la-la la-la-la, la-la-la-la

Back with my wife in Tennessee, when one day she called to me
"Virgil, quick, come see, there goes Robert E. Lee!"
Now I don't mind choppin' wood, and I don't care if the money's no good
Ya take what ya need and ya leave the rest
But they should never have taken the very best

The night they drove old Dixie down and the bells were ringing
The night they drove old Dixie down and all the people were singin', they went
Na-na-na na-na-na, na-na-na na-na-na, na-na-na-na

Like my father before me, I will work the land
And like my brother before me, who took a rebel stand

He was just eighteen, proud and brave
But a Yankee laid him in his grave
I swear by the mud below my feet
You can't raise a Caine back up when he's in defeat

The night they drove old Dixie oown and the bells were ringing
The night they drove old Dixie down and all the people were singin', they went
Na-na-na na-na-na, na-na-na na-na-na, na-na-na-na

The night they drove old Dixie down and all the bells were ringing
The night they drove old Dixie down and the people were singin', they went
Na-na-na na-na-na, na-na-na na-na-na, na-na-na-na
0 Replies
 
Letty
 
  1  
Reply Tue 27 Feb, 2007 08:07 pm
My word, dys. I know that one, honey, but I didn't know who sang it or wrote it.

I think, perhaps, it is time for Letty to say goodnight.

I do hope our Turtle is ok as I haven't seen or heard from him in a while.

I noticed that two naturalized Americans were arrested on spy charges in Miami, Florida for feeding information about Cuban refugees to the Castro government. I think about our young friend eiremil and hope he is well.

Goodnight my cyber friends.

From Letty with love
0 Replies
 
edgarblythe
 
  1  
Reply Tue 27 Feb, 2007 08:18 pm
Doesn't Lenny Live Here Anymore
By Phil Ochs

INTRO: G/C/G/C/G
C G C G C G /C/G/C
You laugh at the people who walk outside on the sidewalk
G C G
And you talk to yourself so much
C G /C/G
when you see other people you can't talk
Am
This time it's true
D7 G G /C/G7
The charade is through
Bm C /D7
And you can't seem to run away from you
Away from you
Am D7
And the haggard ex-lover of a long-time loser
G C G
Stands rejectedly by the door
C G Em Am
Doesn't Lenny live here anymore?
D7
Are you sure?

You sit at the desk
To lose your life in letters
But the words don't seem to come and you know that they're(?) better
and it's all so strange
Pictures lose their frame
And I'll bet you never guessed
There was so much pain
So much pain
Until the haggard ex-lover of a long-time loser
Stands rejectedly by the door
Doesn't Lenny live here anymore?
Are you sure?

The moon, she shines too soon and simply sadly
You loved your love so much that you'd strangle her gladly
And it's all so slow
Time has ceased to flow
And the whistling whore knows something you don't know
And the haggard ex-lover of a long-time loser
Stands rejectedly by the door
Doesn't Lenny live here anymore?
Are you sure?

You swore you'd store your love for one time only
Now you search the books in vain for better word for lonely
And you're torn apart
No other love will start
And you, you'd like to steal a happy heart
A happy heart
Then the haggard ex-lover of a long-time loser
Stands rejectedly by the door
Doesn't Lenny live here anymore?
Are you sure?

The fat official smiles at the pass on the border
And the hungry broom makes sure that the room is in order
You pull the shade
All the beds are made
As your lips caress the razor of the blade
Of the blade
And the haggard ex-lover of a long-time loser
Stands rejectedly by the door
Doesn't Lenny live here anymore?
Are you sure?

The soul of the sun shines just outside of the winter
The shoulders charged, the boards of the barricade is splintered
Now at last alone
The flashlight is shown
Hello inside is there anybody home?
Anybody home?
It's the haggard ex-lover of a long-time loser
Standing rejectedly by the door
Doesn't Lenny live here anymore?
Are you sure?
Are you sure?
Are you sure?
0 Replies
 
TTH
 
  1  
Reply Tue 27 Feb, 2007 08:44 pm
If You Asked Me To Lyrics
(might need corrections, not sure I have them correct)

Celine Dion

Used to be that I believed in something
Used to be that I believed in love
It's been a long time since I've had that feeling
I could love someone
I could trust someone
I said I'd never let nobody near my heart again darlin'
I said I'd never let nobody in

But if you asked me to
I just might change my mind
And let you in my life forever
If you asked me to
I just might give my heart
And stay here in your arms forever
If you asked me to
If you asked me to

Somehow ever since I've been around you
Can't go back to being on my own
Can't help feeling darling since I've found you
That I've found my home
That I'm finally home
I said I'd never let nobody get too close to me darling
I said I needed, needed to be free

But if you asked me to
I just might change my mind
And let you in my life forever
If you asked me to
I just might give my heart
And stay here in your arms forever
If you asked me to
If you asked me to

Ask me to, I will give my world to you baby
I need you now
Ask me to and I'll do anything for you baby, for you baby

(But if you asked me to...)

All ya gotta do
All ya gotta do
'Are 'You 'Gotta do, is ask me to
I'll give you my world
I'll give you my world
Everything, everything baby.

Just ask me to

If you asked me to
I'd change my mind
I'll change my mind


Used to be that I believed in something
Used to be that I believed in love
Its been a long time since Ive had that feeling
I could love someone
I could trust someone
I said Id never let nobody near my heart again darlin
I said Id never let nobody in

But if you asked me to
I just might change my mind
And let you in my life forever
If you asked me to
I just might give my heart
And stay here in your arms forever
If you asked me to
If you asked me to

Somehow ever since Ive been around you
Cant go back to being on my own
Cant help feeling darling since Ive found you
That Ive found my home
That Im finally home
I said Id never let nobody get too close to me darling
I said I needed, needed to be free

(but if you asked me to...)

Asked me to, I will give my world to you baby
I need you now
Ask me to and Ill do anything for you baby, for you baby

If you asked me to
Id let you in my life forever
If you asked me to...
0 Replies
 
Letty
 
  1  
Reply Wed 28 Feb, 2007 04:23 am
Good morning, WA2K listeners and contributors.

First, I would like to thank edgar for Phil(he reminds me of Leonard) and TTH for Celine.

How about a little art appreciation this early morning:

http://www.artmagick.com/images/content/hughes/hi/8.jpg

and, folks, to go with it, the poem by Keats.

La Belle Dame Sans Merci

O, what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge is wither'd from the lake,
And no birds sing.

O, what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel's granary is full,
And the harvest's done.

I see a lily on thy brow,
With anguish moist and fever dew;
And on thy cheek a fading rose
Fast withereth too.

I met a lady in the meads
Full beautiful --- a faery's child;
Her hair was long, her foot was light,
And her eyes were wild.

I made a garland for her head,
And bracelets too, and fragrant zone;
She look'd at me as she did love,
And made sweet moan.

I set her on my pacing steed,
And nothing else saw all day long;
For sideways would she lean, and sing
A faery's song.

She found me roots of relish sweet,
And honey wild, and manna dew;
And sure in language strange she said,
'I love thee true.'

She took me to her elfin grot,
And there she wept and sighed full sore,
And there I shut her wild sad eyes
With kisses four.

And there she lulled me asleep,
And there I dream'd --- ah! woe betide! ---
The latest dream I ever dreamt
On the cold hill side.

I saw pale kings, and princes too,
Pale warriors, death-pale were they all;
They cried --- 'La Belle Dame sans Merci
Hath thee in thrall!'

I saw their starved lips in the gloam
With horrid warning gaped wide,
And I awoke, and found me here
On the cold hill side.

And this is why I sojourn here,
Alone and palely loitering;
Though the sedge is wither'd from the lake,
And no birds sing.

-- John Keats
0 Replies
 
Raggedyaggie
 
  1  
Reply Wed 28 Feb, 2007 10:25 am
Lovely painting, Letty. Smile

Today's Birthday (Entertainment) people:

http://www.tjff.com/2001/festival_films/images/zero_mostel.jpghttp://content.answers.com/main/content/wp/en/thumb/d/da/180px-Durning.jpghttp://www.loveboatonline.com/captold.gif
http://www.reviewjournal.com/images/bestoflv/2000/efx.jpghttp://www.capitolmusic.de/images/cover/150/0724353746926.jpghttp://entimg.msn.com/i/150/Movies/Actors3/Ruehl_FT690039_150x200.jpg
http://www.nndb.com/people/863/000025788/turturro.jpghttp://www.heybirdyproductions.com/SOLITAIRE/images/solitaire13.jpghttp://entimg.msn.com/i/150/TV/2/Leonard_RM88038251_150x225.jpg




Zero Mostel; Charles Durning, Gavin MacLeod, Tommy Tune; Joe South; Mercedes Ruehl, John Turturro, Rae Dawn Chong, Robert Sean Leonard
0 Replies
 
hamburger
 
  1  
Reply Wed 28 Feb, 2007 11:10 am
good day , all !
it's sunny but still below freezing in eastern ontario - so have some compassion , please :wink: .
i picked up this song from the website of the R.T.'s (respiratory therapists) . isn't it amazing , all the places one can find songs ?
hbg

WHEN YOU SMOKE

Written by Dave Howard and Greg Wray


Smoking is something that everyone
Must decide that they will or won't do
So to help you with your decision
We have some information for you
When you smoke your heart starts beating faster
And your blood pressure begins to rise
You will cough and sneeze
Maybe even wheeze
And the smoke will get into your eyes
All this will happen right up
The first time that you light up
And it's no joke
These are things that happen
When you smoke

If you smoke a pack a day for one year
Twelve hundred dollars goes up in flames
And your sense of smell
Will not work as well
Plus the food you eat won't taste the same
We hope that you are learning
The ins and outs of burning
?'Cause it's no joke
These are things that happen
When you smoke

If you keep on smoking year after year
Things will begin happening to you
Chance of lung disease
And cancer will increase
All because of what you choose to do
We're not trying to scare you
We just want to prepare you
That it's no joke
These are things that happen
When you smoke

By now we are sure that you're thinking
That we only are giving one view
But leaving out key information
Is something that we never would do
So now we will give you a list of
All the GOOD things that happen to you

That's right

It's no joke
Nothing good can happen
When you smoke

It's no joke
Nothing good can happen
When you smoke
0 Replies
 
Letty
 
  1  
Reply Wed 28 Feb, 2007 11:15 am
Isn't that a lovely painting and poem, Raggedy? Well, gal, once again you have us mesmerized by your famous folks. Interesting that we have more synchronicity today, because we were discussing the Great Depression and up pops two actors from O Brother Where Art Thou. I was also asking about Ellinas from Greece as well. Hope this doesn't presage our economy, listeners.

Let's do a song that is featured by the trio, one of which was John Turturro. Then we will await our BobBob to fill us in.

I am a man of constant sorrow
I have seen trouble all my days
I bid farewell to old Kentucky
The State where I was born and raised

For six long years I've been in trouble
No pleasure here on earth I've found
For in this world I'm bound to travel (note 1)
I have no friends to help me now

You may bury me in some deep valley (note 2)
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave

Maybe your friends think I'm just a stranger
My face you'll never see no more
But there is one promise that is given
I'll meet you on God's golden shore
0 Replies
 
Letty
 
  1  
Reply Wed 28 Feb, 2007 11:21 am
Hey, Canada. Missed your smoke song, buddy, and of all things, Rae Dawn Chong's dad did "Up in Smoke". It's going to be an interesting day, folks. hbg, I, for one, remember the cold in Virginia so would you trade us your freeze for the hurricanes and tornados? Razz

Glad to know that our Turtle is all right. He's just negotiating for warmer weather. Razz
0 Replies
 
hamburger
 
  1  
Reply Wed 28 Feb, 2007 11:30 am
here is an old newfoundland song .
since there are still many "newfies" that try to find their luck in other provinces - particularly in the "tarsands of alberta" - , the song is probably as appropriate as ever .
hbg


The Emigrant From Newfoundland
-----------------------------------------
Dear Newfoundland, have I got to leave you
To seek employment in a foreign land?
Forced from our nation by cruel taxation,
I now must leave you dear Newfoundland.

Your rocky mountains, your hills and meadows
Where oft I played on a summer's day;
Where merry parties and happy picnics
Are passed from view with the boys that play.

Where oft in spring on a pleasant evening
To the blockhouse go, or the Battery stand,
Where crowds stand eager to watch the sailors
Come in the narrows of Newfoundland.

And our grand regatta at Quidi Vidi,
I long to see in my native place,
With the hawk and Myrtle and the Lady Glover
And the dear old native in the tradesmen's race.

All decked in bunting no more I'll see you,
Although it's years since I took my stand
'Neath the greasy pole or the wheel of fortune
On regatta day in dear Newfoundland.

Dear Newfoundland with your fisheries failing,
Your sons and daughters must leave home each fall;
Forced by poverty and cruel taxation
To the shores of Boston are home for all.

Although with friends I feel sad at parting,
My aged parents on the pier will stand
To bid farewell to their sons and daughters
Who now must leave you, dear Newfoundland.

So keep your sons and your fairest daughters
Employed here at home on your shores so grand.
May the present generation adorn your nation
Is the prayer of an emigrant from Newfoundland.
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 11:32 am
Zero Mostel
From Wikipedia, the free encyclopedia






Birth name Samuel Joel Mostel
Born February 28, 1915
Brooklyn, New York, USA
Died September 8, 1977 (age 62
Philadelphia, Pennsylvania, United States
Other name(s) Zero
Notable roles Pseudolus
in A Funny Thing Happened on the Way to the Forum
Max Bialystock
in The Producers
Tony Awards

Leading Actor in a Play
1961 Rhinoceros
Leading Actor in a Musical
1963 A Funny Thing Happened on the Way to the Forum
1965 Fiddler on the Roof
Zero Mostel (February 28, 1915 - September 8, 1977) was a Brooklyn-born stage and film actor best known for his portrayal of comic characters such as Tevye in Fiddler on the Roof, Pseudolus in A Funny Thing Happened on the Way to the Forum, and Max Bialystock in The Producers. He had been blacklisted during the 1950s, and his testimony before HUAC was well-publicized. He was a Tony Award and Obie Award winner.





Early life
Mostel was born as Samuel Joel Mostel to Israel Mostel, an Eastern European Jew, and Cina (Celia), née Druchs, also from a Jewish family, who was born in Poland and raised in Vienna. The two immigrated to the United States (separately: Israel in 1898 and Cina in 1908), where they met and married. Israel already had four children from his first wife, and Cina gave him four more. Samuel, later known as Zero, was their seventh.

Initially living in the Brownsville section of Brooklyn, the family moved to Moodus, Connecticut, where they bought a farm. The family's income in those days came from a winery and a slaughterhouse. The farm did not do well. When, according to Zero, an unyielding bank president with fierce mustache and long whip foreclosed the mortgage on the farm, the ten Mostels trekked back to New York and settled on the Lower East Side of Manhattan, where the boy attended public school, where his character was shaped, and where his father was employed as a wine chemist. While not at poverty level, the family had to struggle financially. While a child, Mostel was described by his family as outgoing and lively, and with a developed sense of humor. He showed an intelligence and perception that convinced his father he had the makings of a rabbi; however, Mostel preferred painting and drawing, a passion he was to retain for life. According to Roger Butterfield, his mother made a practice of dressing the boy in a velvet suit and sending him to the Metropolitan Museum of Art to copy masterpieces. Zero had a favorite painting, John White Alexander's Study in Black and Green, which he copied every day, to the delight of the gallery crowds. One afternoon, while a crowd was watching over his velvet-clad shoulder, he solemnly copied the whole painting upside down, delighting his audience.

Already at a young age he developed the duality of character that baffled critics years later: when alone he was studious and quiet, but when observed he felt he had to be the center of attention, which he invariably did through use of humor. The fact that at home he spoke English, Yiddish, Italian and German helped him reach out to audiences of many ethnicities in New York.

He attended Public School 188, where he had been an A student (this is in contrast to his later claim that he was nicknamed Zero after his grade average). He also received professional training as a painter through The Educational Alliance. He completed his high school education at Seward Park High, where, interestingly, his yearbook voiced the following prophesy: "A future Rembrandt… or perhaps a comedian?"


College and early comic routines

Mostel attended the City College of New York, a public college that allowed many poor students to pursue higher education.

As only beginner classes were available in art, Zero took them repeatedly to be able to paint and receive professional feedback. During that time he worked odd jobs, and graduated in 1935 with a bachelor's degree. He then continued studying towards a masters in arts, and also joined the Public Works of Art Project (PWAP), which paid him a stipend to teach art.

In 1939 he married Clara Sverd, and the couple moved to an apartment in Brooklyn. The marriage did not last, however, since Clara could not accept the many hours Mostel spent in his studio with his fellow artists, and he did not seem to be able to provide for her at the level she had been accustomed to. They separated in 1941 and divorced in 1945.

Part of Mostel's PWAP duty was to give gallery talks at New York's museums. Leading groups of students through the many paintings, Mostel could not suppress his comedic nature, and his lectures became famous not so much for their artistic content as for his sense of humor. As his reputation grew, he was invited to entertain at parties and other social occasions, earning three to five dollars per performance. Labor Union Social Clubs followed, where Mostel mixed his comic routine with social commentary. These performances would play a large role in his eventual blacklisting in the next decade.

In 1941, the Café Society?-a downtown Manhattan nightclub?-approached Mostel with an offer to become a professional comedian and play a regular spot. Mostel accepted, and in the next few months he became the Café Society's main attraction. It was at the Café Society that he adapted the stage name Zero (Zee to his friends). The press agent of the night club prevailed upon Mostel to adopt this stage name, hoping that it would inspire the comment: "Here's a man who made something out of nothing." Thus, at the age of 27, Mostel dropped every other job and occupation to start his show business career.


Rise

Mostel's rise from this point on was rapid. In 1942 alone his salary at the Café Society went up from $40 a week to $450; he appeared on radio shows, opened in two Broadway shows (Keep Them Laughing, Top-Notchers), played at the Paramount Theatre, appeared in an MGM movie (Du Barry Was a Lady), and booked into La Martinique at $4,000 a week. He also made cameo appearances at the Yiddish theatre, which style influenced his own. In 1943, Life Magazine described him as "just about the funniest American now living."


Mostel in Sirocco (1951)

In March of 1943, Mostel was drafted by the Army. His length of service is hard to determine as conflicting accounts exist?-some say that he was released after six months due to colitis, others that he served to the end of the war. At any rate it is apparent that he was honorably discharged and gave the troops many months of free entertainment through the USO until 1945.

Mostel married Kathryn (Kate) Cecilia Harkin, a Chez Paree club chorus girl, on July 2, 1944, after two years of courtship. The marriage was shaky at times, again mostly due to Mostel's spending most of his time in his art studio. Their relationship was described by friends of the family as complicated, with many fights but mutual adoration. The couple stayed together until Mostel's death and had two children: film actor Joshua (Josh) in 1946 and Tobias (Toby) in 1948.

After Mostel's discharge from the army, his career took off again. He appeared in a series of plays, musicals, operas and movies. In 1946 he even made an attempt at serious operatic acting (in The Beggars Opera), but received lukewarm reviews. Critics saw him as a versatile performer, who was equally adept at a Moliere play as he was on the stage of a night club.

Meanwhile, the choice of political causes Mostel was supporting earned him surveillance by the FBI. According to his FBI file, he was seen at many Communist Party meetings in 1941 and was active in support of Free Earl Browder Movement.


Blacklist years and HUAC testimony

With growing popularity and many excellent reviews, Mostel's career nonetheless came to a complete halt during the 1950s. Seeing many of his show business friends blacklisted and forced to name names of supposed Communists, it came as no surprise to him that he was named, too. On January 29, 1952, Martin Berkeley identified him to the House Committee on Un-American Activities as having been a member of the Communist party (Berkeley had named 160 people in all?-more than any other witness). This was enough to ruin Mostel's career even before he was subpoenaed to appear before HUAC, which happened on August 14, 1955.

The committee was presided over by chairman Clyde Doyle. Mostel, who could not afford to hire a lawyer, testified before the committee on his own. Frank Wilkinson recalled the proceedings thusly:

It began with the committee's counsel immediately launching his attack. "Mr. Mostel, are you or are you not a Communist?" Zero leaped out of his chair behind the counsel's table, knocking the microphones to the floor, and reached for the throat of HUAC's attorney while shouting, "That man called me a Communist! Get him out of here! He asked me if I'm a Communist! Get him out of here!"
The committee was roaring with laughter. They were delighted. Here they had Zero Mostel all to themselves, on stage, in a private dining room. Zero went on playing and parlaying with them for at least twenty minutes, responding to their questions by reciting each amendment in the Bill of Rights.
Finally, HUAC's lawyers cautiously said, "Mr. Mostel, we know all about those amendments. We simply want to know are you, or are you not, claiming the Fifth Amendment."
He didn't ask Zero, "Are you or are you not a Communist." He asked him, "Are you or are you not claiming the Fifth Amendment." What they wanted him to say was "Yes." After another ten minutes of sparring, Zero said, "Yes, I'm claiming the Fifth Amendment."
The hearings were stopped right there. The committee's PR guy goes to the door and opens it. He doesn't say a word to the crowd of reporters. He just holds up five fingers, and the press dashes off to the telephones there in the hotel. The headlines the next morning: "Zero Mostel Pleads Fifth Amendment at HUAC Meeting."

Thus Mostel refused the opportunity to redeem himself by giving the committee more names, choosing instead not to answer any question that may incriminate himself (a direct refusal to name names would have allowed the committee to find him in contempt). His testimony had won him admiration in the blacklisted community, as in addition to not naming names he also confronted the committee on ideological matters, something that was rarely done. Among other things, he referred to Twentieth Century Fox as "Eighteenth Century Fox" (due to their collaboration with the committee), and manipulated the committee members to appear foolish.

The admiration he received for his testimony did nothing to take him out of the blacklist, however, and the family had to struggle throughout the 1950s with little income. Mostel used this time to work in his studio. Later he would say that he cherished those years for the time it had afforded him to do what he loved most. Mostel's appearance before HUAC (as well as others') was incorporated into the 1972 play Are You Now or Have You Ever Been…?


Ulysses in Nighttown and career revival

In 1957, Toby Cole, a New York theatrical agent who strongly opposed the blacklist, contacted Mostel and asked to represent him. The partnership was to have the effect of reviving Mostel's career and making him a household name. Mostel accepted the role of Leopold Bloom in Burgess Meredith's Ulysses in Nighttown, a play based on the novel Ulysses, which he greatly admired in his youth. It was an off-off-Broadway play produced in a small Houston street theater, but the reviews Mostel received were overwhelmingly favorable. Most notably, Newsweek's Jack Kroll compared him to Laurence Olivier, writing, "Something unbelievable happened. A fat comedian named Zero Mostel gave a performance that was even more astonishing than Olivier's." Mostel received the Obie award for best off-Broadway performance of the 1958-59 season.


After the success of Ulysses, Mostel received many offers to appear in classic roles, especially abroad. However, artistic differences with the directors and the low salaries he was offered prevented these from ever materializing. By this time the black list was beginning to crumble, and in 1959, he had a role in a few TV plays for the series The World of Sholem Aleichem on PBS.


1960s and height of career

On January 13, 1960, while exiting a taxi on his way back from rehearsals for the play The Good Soup, Mostel was hit by a bus and his leg was crushed. The doctors wanted to amputate the leg, which would have effectively ended his stage career. Mostel refused, accepting the risk of gangrene, and remained hospitalized for four months. The gamble paid off, but for the rest of his life the massively-scarred leg gave him pain and required frequent rests and baths.

Later that year Mostel took on the role of Estragon in a TV adaptation of Waiting for Godot. In 1961, he played Jean in Rhinoceros to very favorable reviews. The New Republic's Robert Brustein said that he had "a great dancer's control of movement, a great actor's control of voice, a great mime's control of facial expressions." His transition onstage from man to rhinoceros became a thing of legend; he won his first Tony Award for Best Actor, even though he was not in the lead role.

In 1962 Mostel began work on the role of Pseudolus in the Broadway musical A Funny Thing Happened on the Way to the Forum, which was to be one of his most recognizable roles. Mostel did not originally want to do the role, which he thought below his capabilities, but was convinced by his wife and agent. The reviews were excellent, and, after a few slow weeks, the show became a great commercial success, running 964 performances and conferring on Mostel a star status (he also won a Tony Award for Best Actor in a Musical for this role). It was also produced as a movie version in 1966, also starring Mostel.

On September 22, 1964, Mostel opened as Tevye in the original Broadway production of Fiddler on the Roof. Mostel's respect for the works of Sholem Aleichem made him insist that some of the more serious verses in the book were incorporated into the mostly comedic musical, and he made major contributions to its shape. He also created the cantorial sounds made famous in songs such as "If I Were a Rich Man." In later years, the actors who followed Mostel in the role of Tevye invariably followed his staging down to the smallest details. The show received rave reviews and was a great commercial success, running 3242 performances, a record at the time. Mostel received a Tony Award for it and was invited for a reception in the White House, officially ending his political pariah status.

In 1967, Mostel appeared as Potemkin in Great Catherine, and in 1968 he took on one of his most famous roles, that of Max Bialystock in The Producers. Mostel refused to accept the role at first, but director Mel Brooks convinced him to show the script to his wife, who then talked Mostel into doing it. His performance received mixed reviews, and was not a great success at first, but the film has achieved cult status since.


Last years

In his last decade, Mostel showed little enthusiasm for artistic theatrical progress. Rather than choosing roles that would bring him critical acclaim or that he wanted to do, he seemed to be available for any role that paid well. The result was a succession of movies for which, for the first time since he had established himself as a performer, reviews were mixed at best. Such endeavors were The Great Bank Robbery, The Angel Levine, Once Upon a Scoundrel, and Mastermind. This caused the devaluation of his star power: once a top-billing actor, he now had to make do with featured billing, and his appearance in a movie or play no longer guaranteed success.

There have been a few exceptions, however: the movie version of Rhinoceros, The Front (where he played Hecky Brown, a blacklisted performer whose story bears a similarity to Mostel's own, and for which he was nominated for a BAFTA Award for Best Supporting Actor), and theatrical revivals of Fiddler and Ulysses in Nighttown. He also made memorable appearances in children's shows such as Sesame Street, The Electric Company, and The Muppet Show.

In the last four months of his life, Mostel took on a nutritionally unsound diet (later described by his friends as a starvation diet) that reduced his weight from 304 to 215 pounds. During rehearsals for the play The Merchant, he collapsed in his dressing room and was taken to Thomas Jefferson University Hospital. He was diagnosed with a respiratory disorder and it was believed he was in no danger and would be released soon. However, on September 8, 1977, Mostel suddenly complained of dizziness and lost consciousness. The attending physicians were unable to revive him, and he was pronounced dead that evening. It is now believed that he suffered an aortic aneurysm.

In accordance with his final requests, his family did not stage any funeral or other memorial service to mark his passing. Mostel was cremated following his death; the location of his ashes is not publicly known.


Character and relationship with other performers

Mostel had often collided with directors and other performers in the course of his professional career. He was described as irreverent, believing himself to be a comic genius (many critics agreed with him) and showed little patience for incompetence. He often improvised, which was received well by audiences but which oftentimes left other performers (who were not prepared for his ad-libbed lines) confused and speechless during live performance. He often dominated the stage whether or not his role called for it. Norman Jewison stated this as a reason for preferring Chaim Topol to him for the role of Tevye in the movie version of Fiddler on the Roof. Mostel took exception to these criticisms: "There's a kind of silliness in the theater about what one contributes to a show. The producer obviously contributes the money… but must the actor contribute nothing at all? I'm not a modest fellow about those things. I contribute a great deal. And they always manage to hang you for having an interpretation. Isn't [the theater] where your imagination should flower? Why must it always be dull as ****?" [1]

Other producers, such as Jerome Robbins and Hal Prince, preferred to hire Mostel on short contracts, knowing that he would become less faithful to the script as time went on. His larger-than-life persona, though largely responsible for his success, had also intimidated others in his profession and prevented him from receiving some important roles.


Notes

Mostel has the distinction of being the only guest on The Muppet Show to die before his episode aired.
The character in The Producers named Leopold Bloom is also the name of Mostel's character in Ulysses in Nighttown.
He drank so much coffee that he was once hospitalized for caffeine poisoning.
The role of Pseudolus in A Funny Thing Happened on the Way to the Forum was originally offered to Phil Silvers, who declined, saying he did not want to do this "old shtick". Silvers later played Lycus in the film version of the show. Silvers would later play Pseudolus in the first revival of Forum and win a Tony Award himself.
He belonged to the swimming team and the R.O.T.C. while in the City College of New York. The story goes that at the College's Charter Day exercises, the R.O.T.C. unit held a review in honor of the occasion. When he was commanded by the captain to stand at attention, the future comedian "started to crumple like an airless accordion." "Attention!" barked the officer, "not at ease." "Mon capitaine," Zero replied, "it's not me at ease, it's my uniform." Legend also has it that the R.O.T.C. situation became so critical that on inspection days the staff officers tried to get the youth out of sight. They attempted to detail him on special duty. "Private Mostel, would you be so good as to go to the gymnasium with a message for Corporal S?" they would demand uneasily. "I gotta drill," Zero, professing not to understand, is supposed to have said. "But we excuse you from drill," pleaded the staff. "I gotta drill," persisted Zero. "I gotta get hard. I gotta get strong. I gotta get ready to die for dear old City College."

Quotations

Zero Mostel to Mel Brooks: "With kikes like you on the loose, who needs Hitler?"
"Romanian-Jewish cooking has killed more Jews than Hitler."
"Humor is a sense of proportion and a power of seeing yourself from the outside."
"The freedom of any society varies proportionately with the volume of its laughter."
"What was Pearl Harbor doing in the Pacific?" (as part of his Isolationist senator routine)
"Comedy is rebellion against that kind of piety which we may call the False Piety, ... against hypocrisy, against pretense, against falsehood and humbug and bunk and fraud, against false promises and base deceivers, ... against all evils masquerading as true and good and worthy of respect."
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bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 11:37 am
Charles Durning
From Wikipedia, the free encyclopedia


Charles Durning (born February 28, 1923) is an American actor of stage and screen.





Early life

Born in Highland Falls, New York, to an impoverished Irish American Catholic family, which he left as soon as possible to ease the financial pressure on his mother.


Military service

Durning served as a soldier in World War II, during which he was awarded a Silver Star, three Purple Heart medals, and a Good Conduct Medal. He was drafted into the U.S. Army at the age of 21, and landed on D-Day in the Normandy Invasion on June 6, 1944. Some sources state he was in the 1st Infantry Division at the time, but it is unclear if he was a rifleman or in an artillery unit by 1944.

On Omaha Beach itself, Pvt. Charles Durning was among the first troops to land. Drafted early in the war, he was first assigned as a rifleman with the 398th Infantry Regiment, but later served overseas with the 3rd Army Support troops and the 386th Anti-aircraft Artillery (AAA) Battalion.
Durning was wounded by an "S" Mine on June 15, 1944, at Les Mare des Mares. He was transported by the 499th Medical Collection Company to the 24th Evacuation Hospital. By June 17, he was back in England at the 217th General Hospital. Although severely wounded by shrapnel in the left and right thigh, right hand, the frontal region of the head and the interior left chest wall, Durning recovered quickly and was determined to be "fit for duty" on December 6, 1944. Durning was present for the Battle of the Bulge, the German counter-offensive in December 1944. [1]
He was taken prisoner during the Battle of the Bulge, and was one of the few survivors of the infamous Malmedy massacre of American POWs, perpetrated by a battlegroup under Joachim Peiper of the 1st SS Division Leibstandarte SS Adolf Hitler. "He escaped with two others, and returned to find the remainder murdered.[1]

After being wounded in the chest, Durning was repatriated to the United States where he remained in army hospitals, receiving treatment for both physical and psychological wounds, until discharged with the rank of Private First Class on January 30, 1946.

Durning has said that he still suffers from nightmares about his war experiences (which is common among veterans living with post-traumatic stress disorder, although Durning himself is not confirmed to have suffered PTSD). He was nominated for an Emmy Award for his extraordinary portrayal of a Marine veteran in "Call of Silence", an unusual episode of the television series NCIS, first broadcast November 23, 2004. Clearly drawing on his first-hand knowledge of the lingering effects of battle-induced stress, Durning's character turns himself in to authorities, insisting that he must be prosecuted for having murdered his buddy during ferocious combat on Iwo Jima six decades earlier. The real truth of the incident only becomes known for certain when the guilt-stricken veteran goes through a cathartic reliving of the battlefield events.

Durning is well-known for participating in various functions to honor American veterans. He was the chairman one year of the U.S. National Salute to Hospitalized Veterans.


Post-war career

After the war, Durning worked various jobs. While working as a ballroom dance instructor (he had some training in classical dance) he was noticed and cast in the New York Shakespeare Festival. He has since performed in some 32 plays, and in 1990 he won the Tony Award for "Featured Actor in a Play" for his role in Cat on a Hot Tin Roof. [2][3]

One of Durning's best-known roles is the corrupt policeman Lieutenant Snyder who doggedly pursues the young con artist Johnny Hooker (Robert Redford) in the 1973 classic The Sting. Since then he has amassed over 100 film and TV credits, including Queen of the Stardust Ballroom, Dog Day Afternoon (with Al Pacino), the sci-fi classic The Final Countdown, and The Best Little Whorehouse in Texas. In 1979, he played Doc Hopper, the main villain in The Muppet Movie. In Tootsie he plays a suitor to a cross-dressing Dustin Hoffman. The two actors worked together again in a 1985 TV production of Death of a Salesman. In 1993, Durning guest starred in the Sean Penn-directed music video for "Dance with the One That Brought You" by Shania Twain.

More recently he has played a benevolent father to Holly Hunter in Home for the Holidays (1995), a savvy southern state governor ("Pappy" O'Daniel) in O Brother, Where Art Thou, and as Victor Rasdale in Dirty Deeds. He also had a recurring role on Everybody Loves Raymond (1996-2005) as the Barone family's long-suffering parish priest, Father Hubley. He also played the voice of recurring character Francis Griffin in the animated series Family Guy until 2007.

For his roles on television, Durning has earned four Emmy Awards. He has also received Academy Award for Best Supporting Actor nominations for The Best Little Whorehouse in Texas in 1982 and for To Be or Not to Be in 1983.

He can currently be seen on the television show Rescue Me, playing the father of Denis Leary's character. His daughter Jeanine Durning is a well known New York based modern dance performer and choreographer.
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 11:40 am
Gavin MacLeod
From Wikipedia, the free encyclopedia


Gavin MacLeod (born February 28, 1930) is an American actor, notable for playing Murray Slaughter on Mary Tyler Moore and Captain Merrill Stubing on The Love Boat. He is the father of Drew Steele, of the rock band the Surf Punks.





Early years

Born Allan George See in Mount Kisco, New York, he grew up in Pleasantville and studied acting at Ithaca College, graduating in 1952. His father, a gas station attendant, was a Chippewa (Ojibwa) Indian. After serving in the Air Force, he moved to New York City and worked at Radio City Music Hall while looking for acting work. At about this time he changed his name, drawing "Gavin" from a cerebral palsy victim in a TV drama, and "MacLeod" from his Ithaca drama coach, Beatrice MacLeod.


Acting career

His first movie appearance was in I Want To Live!, a 1958 prison drama starring the late Susan Hayward, who won an Oscar for her performance. He was soon noticed by Blake Edwards, who in 1958 cast him as a neurotic navy clerk in Operation Petticoat with Cary Grant and Tony Curtis. Operation Petticoat proved to be a breakout role for MacLeod, and he was soon cast in another Blake Edwards comedy, High Time, with Bing Crosby.

MacLeod also appeared as the villain on TV shows of the late 1950s and early 1960s. His first regular TV role came in 1962 as Joseph "Happy" Haines on McHale's Navy. MacLeod's role as "Murray Slaughter" on The Mary Tyler Moore Show won him lasting fame, and two Golden Globe nominations, followed by another three nominations for his Love Boat work.


Conversion

During the mid-80's, Gavin and his then ex-wife Patti became Evangelical Christians and remarried (see TPE "Conversations 12/25/2005"). Following his conversion and remarriage, he and his wife wrote about struggles with divorce and alcoholism in Back On Course: The Remarkable Story of a Divorce That Ended in Remarriage. The MacLeods have been hosts on the Trinity Broadcasting Network for 14 years, primarily hosting a show about marriage called, "Back on Course" (see TBN "Our Programs").


Current work

MacLeod currently serves as the honorary Mayor of Pacific Palisades.
0 Replies
 
dyslexia
 
  1  
Reply Wed 28 Feb, 2007 11:46 am
on this day in 1993 A gun battle erupted at the Branch Davidian compound near Waco, Texas, when Bureau of Alcohol, Tobacco and Firearms agents tried to serve warrants; four agents and six Davidians were killed as a 51-day standoff began.
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 11:49 am
Joe South
From Wikipedia, the free encyclopedia


Joe South (born Joseph Alfred Souter, 28 February 1940, in Atlanta, Georgia) is a Grammy Award winning American singer-songwriter with a distinctive guitar sound.


Career

South had several hits in the late 1960s and early 1970s with songs such as "Don't It Make You Wanna Go Home" and "Walk a Mile in My Shoes". His biggest and most remembered single was "Games People Play" (1969), a Top 10 hit on both sides of the Atlantic. It won the "Grammy Award for Best Contemporary Song", the "Grammy Award for Song of the Year", and which bears a striking resemblance to the children's gospel song, "I Don't Want to Be a Pharisee". It was featured on his first album, Introspect.

He had met and was encouraged by Bill Lowery, an Atlanta music publisher and radio personality. He began his recording career in Atlanta with National Recording Corporation, where he served as staff guitarist along with other NRC artists Ray Stevens and Jerry Reed. South's earliest recordings have been re-released by NRC on CD.

South songs have been recorded by other artists. They include Lynn Anderson's 1971 hit "(I Never Promised You a Rose Garden", Billy Joe Royal's hit "Down in the Boondocks," Deep Purple's "Hush" (a British hit many years later for Kula Shaker), the Osmonds' hit "Yo-Yo," and Elvis Presley's Las Vegas-era version of "Walk a Mile in My Shoes", also recorded by Bryan Ferry and Coldcut.

South was also a prominent sideman, recording the memorable guitar part on Aretha Franklin's "Chain of Fools", Tommy Roe's "Sheila" as well as appearing on Bob Dylan's album Blonde on Blonde. He also played the electric guitar part that was added to Simon & Garfunkel's first hit, "The Sound of Silence".

The suicide of his brother, Tommy, drove South into a deep depression.[citation needed] Tommy had been his backing band's drummer and accompanied South not only in live performances, but also on recording sessions when South produced hits for other artists, including Billy Joe Royal, Sandy Posey, and Friend & Lover.

South was inducted into the Nashville Songwriters Hall of Fame in 1979.

In 1988 Dutch DJ, Jan Donkers, interviewed Joe South for VPRO-radio. The radio show where they aired the interview also included four new songs, but a new record was not released.

In 1994 South played several concerts in England.

On 13 September 2003 South was inducted into Georgia Music Hall of Fame, and played together with Buddy Buie, J.R. Cobb and Chips Moman at the induction ceremony.
0 Replies
 
dyslexia
 
  1  
Reply Wed 28 Feb, 2007 11:51 am
on this day in 1979 - Mr. Ed, the talking horse from the TV show "Mr. Ed", died.
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 11:57 am
Bernadette Peters
From Wikipedia, the free encyclopedia


Birth name Bernadette Lazzara
Born February 28, 1948 (age 58)
Ozone Park, Queens, New York
Spouse(s) Michael Wittenberg
(1996-2005)
Official site http://www.bernadettepeters.com
Notable roles Dot/Marie in
Sunday in the Park with George,
Rose in
Gypsy
The Witch in
Into the Woods
Tony Awards

Song and Dance (1986)
Annie Get Your Gun (1999)
Bernadette Peters is an American Tony Award-winning actress and singer.




Early career

Bernadette Lazzara was born to an Italian-American family in Queens, New York. Her mother, Marguerite, started her in show business by putting her on the television show "Juvenile Jury" at the age of three-and-a-half. She later appeared on the television shows "Name That Tune" and "The Horn and Hardart Children's Hour". In her teen years, she attended the Quintano School for Young Professionals.

At the age of nine she got her Equity Card under the name of Bernadette Peters to avoid ethnic stereotyping; the stage name was taken from her father's first name. She made her theatrical debut at age 9 in This is Goggle, directed by Otto Preminger, a comedy that closed during out-of-town tryouts, before reaching New York. She first appeared on the New York stage at age 10 in the New York City Center revival of The Most Happy Fella (1959). At 13 she was an understudy for Dainty June and one of the ensemble in a touring company of Gypsy. Upon graduation from high school, she started working steadily, appearing Off-Broadway in The Penny Friend (1966) and Curley McDimple (1967) and as an understudy on Broadway in The Girl In The Freudian Slip (1967). She made her on-stage Broadway debut in Johnny No-Trump in 1967. She appeared next as George M. Cohan's sister, co-starring with Joel Grey in the Broadway musical George M! (1968), for which she received the Theatre World Award for a Debut Performance. But it was her next role, as Ruby in the 1968 Off-Broadway spoof of 1930s musicals, Dames at Sea, that brought her critical notice. (She had appeared in an earlier 1966 version of Dames at Sea at the off-off-Broadway performance club, the Caffe Cino.) (See Joe Cino)

She had starring roles in her next Broadway vehicles --Gelsomina in La Strada (one performance); Hildy in On the Town (73 performances); and Mabel Normand in Mack and Mabel (65 performances), but they had disappointingly short runs. Peters moved to Los Angeles in the early 1970's, where she concentrated on television and film work. She did not appear on stage again until 1982 in the Off-Broadway Sally and Marsha.


Theatre

Peters returned to the Broadway stage after a ten-year absence as Dot/Marie in the Stephen Sondheim-James Lapine musical, Sunday in the Park with George, followed by the Andrew Lloyd Webber Song and Dance, and again, as The Witch for 5 months in Sondheim-Lapine's Into the Woods. She continued her association with Sondheim in a 1995 benefit concert of Anyone Can Whistle and, in 2003, in Gypsy as Mama Rose (the role made famous by Ethel Merman). Most recently, in February 2006, she participated in a reading of the Sondheim-Weidman musical Bounce. Additionally, she performed at the Kennedy Center Honors ceremony for Sondheim (1993), as well as at several concerts featuring his work.

She has became known for her performances in the works of Stephen Sondheim and is "considered by many to be the premier interpreter of his work", according to the writer Alex Witchel. [1] Raymond Knapp writes that Peters "achieved her definitive stardom" in Sunday in the Park With George and Into the Woods.[2]

Stephen Sondheim has said of Peters: "Like very few others, she sings and acts at the same time," he says. "Most performers act and then sing, act and then sing. . . . Bernadette is flawless as far as I'm concerned. I can't think of anything negative." [3]


Peters in her Tony Award-winning role in Song and Dance (1985)She won her first Tony Award for Best Lead Actress in a Musical in 1986 for her performance as Emma in the Andrew Lloyd Webber musical Song and Dance. Theater critic Frank Rich wrote in an otherwise negative review of Song and Dance that "[Peters] has no peer in the musical theater right now." [4] In another review of Song and Dance, the critic John Simon wrote: "She not only sings, acts, and (in the bottom half) dances to perfection, she also, superlatively, is." [5]

She won her second Tony Award for her performance as Annie Oakley in the 1999 revival of Annie Get Your Gun, opposite Tom Wopat. Although his review of the production was generally unfavorable Ben Brantley wrote of Peters' performance "...it is Ms. Peters who provides the show with its only genuine pleasures, and they come when she sings ... She seems to pull us all into a collective embrace with a mere catch in her voice or a hint of a tear, and there are moments when nothing seems to exist but the star, the song and the audience." [6]

Peters most recently appeared on Broadway as Rose in Gypsy, which closed in May 2004. Ben Brantley in his review wrote: "Playing a role that few people thought would ever fit her and shadowed by vultures predicting disaster, Bernadette Peters delivered the surprise coup of many a Broadway season in the revival of "Gypsy" that opened last night at the Shubert Theater...Working against type and expectation under the direction of Sam Mendes, Ms. Peters has created the most complex and compelling portrait of her long career, and she has done this in ways that deviate radically from the Merman blueprint." [7]

She has been called "America's premier musical theater actress" (David Patrick Stearns, USA Today, January 28, 1999); a "National Living Treasure[s]" (Lloyd Rose, Washington Post, January 8, 1999); and "as close to a diva as the New York theater has produced in the past thirty years" (John M. Clum, Something for the Boys, 1999, ISBN 0-312-23832-0). And, Andrew Gans wrote: ..."it wasn't until her triptych of hits in the '80s ?- Sunday in the Park with George, Song & Dance and Into the Woods ?- that she solidified her place among the tiny pantheon of Broadway's great musical theatre stars, joining the likes of Ethel Merman and Mary Martin and those select few who possess the talent, star quality and drawing power that create a Broadway legend." (Playbill On-Line's Brief Encounter with Bernadette Peters, March 12, 2002)


Film

She has appeared in 19 films, and is remembered mainly for the 1979 comedy classic The Jerk co-starring Steve Martin, whom she dated. She won a Golden Globe Award as Best Motion Picture Actress - Comedy/Musical for her performance as Eileen in the 1981 film Pennies From Heaven, again co-starring with Martin. She most recently appeared with three generations of the Kirk Douglas family in It Runs in the Family. In May 2006 she filmed a movie in Italy, titled "Come le formiche", co-starring with F. Murray Abraham; there is no release date announced.




Television

Peters has appeared in many made-for-television movies and variety shows, and has performed on the Academy Awards, both presented at and co-hosted the Tony Awards, and hosted Saturday Night Live. She made guest appearances on all of Carol Burnett's television variety series, (see The Carol Burnett Show and the parody As the Stomach Turns), as well as appearing with her in the made-for-television version of Once Upon A Mattress and the 1982 film Annie. Peters performed at the Kennedy Center Honors for Burnett in 2003.

She appeared often on the Tonight Show Starring Johnny Carson (at least 32 times) and on the day time talk show Live with Regis and Kelly, both as a co-host and a guest (at least 20 times). Peters said of performing on the Carson show: "The first time I was on [in 1970] I sang 'What'll I Do.' There was a good reaction afterwards, really wonderful. People started to notice me when I would appear on his show... I got exposure on that show." [8]

Peters voiced "Rita", a stray cat, in the Rita and Runt segments of the animated series Animaniacs. Rita often sang on the show, sometimes in a parody of a Broadway musical.

She co-starred in her own short-lived series, All's Fair, with Richard Crenna in the late 1970s. In March 2005, Peters made a pilot for an ABC sitcom series titled "Adopted", co-starring with Christine Baranski. They played comically competing mothers--one natural, one adoptive--of an adult son. The series was not picked up. [9]

Peters most recently appeared as a defense attorney on the NBC series, Law & Order: Special Victims Unit, in November 2006. She previously guest starred on the penultimate episode of NBC's Will & Grace as the sharp-tongued sister of Karen Walker (Megan Mullally).

She was nominated for the Emmy Award for her guest-starring roles on the Fox sitcom Ally McBeal (2001), and The Muppet Show (1978).


Concerts

Ms. Peters has been performing her one-woman concert in the United States and Canada for many years. She made her solo concert debut at Carnegie Hall in New York City in 1996, devoting the second half to the work of Stephen Sondheim. In his review Stephen Holden wrote: "When she devoted the entire second half of Monday's concert to the songs of Stephen Sondheim, the chemistry between the voice of the wise child and the lyrics of Broadway's ultimate sophisticate filled the hall with a profoundly bittersweet feeling of lessons learned on roads long traveled." (New York Times, December 11, 1996). She performed a similar concert in London, which was taped and released on video, and also aired on U.S. Public Television stations in 1999.


Recording

She has recorded 6 solo albums, starting with her debut album in 1980 titled Bernadette. Three have been nominated for the Grammy Award. She has recorded most of the Broadway and Off-Broadway musicals she has appeared in. Additionally, she recorded songs on several other albums, such as John Whelan's Flirting with the Edge. "Of course, I can't say enough about Bernadette Peters. I played at her wedding a few years ago...It's Dublin Lady one of the lesser known traditional songs, and her striking voice makes this the best rendition I ever heard." (Liner notes, Flirting with the Edge, Narada, 1998.)

On the Mandy Patinkin Dress Casual album, Patinkin and Peters recorded the suite from Stephen Sondheim's 1966 television play, Evening Primrose.


Other

Peters appeared on the cover of the December 1981 issue of Playboy Magazine, as well as in a full inside spread, featuring her posing in lingerie designed by Bob Mackie.
She received a star on the Hollywood Walk of Fame, located in Hollywood, California, in April 1987, at 6706 Hollywood Blvd.
She was honored as the Hasty Pudding Woman of the Year for 1987.
In 1994, she received the Sarah Siddons Award for outstanding performance in a Chicago theatrical production.
She was inducted into the American Theatre Hall of Fame for 1995, in a ceremony at the Gershwin Theatre, New York, becoming the youngest person so honored. [citation needed]
She was inducted into The Hollywood Bowl Hall of Fame on June 28, 2002.

Personal

She is a co-founder with Mary Tyler Moore of Broadway Barks, an annual animal adopt-a-thon held in New York City. The goal is to promote adopting animals from shelters and to make New York City a no-kill city.

Bernadette Peters married investment adviser Michael Wittenberg on July 20, 1996 at the upstate New York home of Mary Tyler Moore, her longtime friend. Wittenberg died at age 43 on September 26, 2005 in a helicopter crash in Montenegro while on a business trip.
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 28 Feb, 2007 12:05 pm
Mercedes Ruehl
From Wikipedia, the free encyclopedia


Born February 28, 1948
Queens, New York

Mercedes Ruehl (born February 28, 1948) is an Academy Award-winning United States theater and film actress.





Biography

Personal life

Ruehl was born in Queens, New York. Her father was an FBI agent and her mother was a teacher. She was raised in the Catholic religion[1] and has German, Irish, and Cuban ancestry.[2] Ruehl attended College of New Rochelle[3] and graduated in 1969. She is married to painter David Geiser,[4] with whom she has a son, Jake. She had another son, Christopher, who she gave up for adoption in the 1970s; Christopher later became Jake's godfather.[5]. Naturally she drives a Mercedes-Benz.


Career

Ruehl began her career in regional theatre, taking odd jobs between engagements. In the late 1970s, Ruehl began chalking up New York stage successes, notably in I'm Not Rappaport (1985). On the stage, she won the 1985 Obie Award for her performance in The Marriage of Bette and Boo and twenty years later, an Obie for Woman Before a Glass. She also received a 1991 Tony Award as Best Actress (Play) for Lost in Yonkers. Her performances in two other plays earned her two other Tony nominations:

In 1995 as Best Actress (Featured Role - Play) for a revival of The Shadow Box;
In 2002 as Best Actress (Play) for Edward Albee's The Goat, or Who is Sylvia?.
Her most acclaimed film role was in The Fisher King; her performance in the film earned her the 1992 Oscar for Best Supporting Actress as well as an American Comedy Award, a Boston Society of Film Critics Award, a Los Angeles Film Critics Association Award, and a Golden Globe. Earlier she had won the 1989 National Society of Film Critics Award for Best Supporting Actress for her performance in Married to the Mob. She played KACL station manager Kate Costas in five episodes of Frasier, and had a major role in the made-for-TV film All-American Girl: The Mary Kay Letourneau Story.

She has also played the mother of Vincent Chase in HBO's Entourage.
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