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Ingmar Bergman
From Wikipedia, the free encyclopedia


Birth name Ernst Ingmar Bergman
Born July 14, 1918 (1918-07-14) (age 89)
Uppsala, Sweden
Years active 1944 - 2005
Spouse(s) Else Fisher (1943-1945)
Ellen Lundström (1945-1950)
Gun Grut (1951-1959)
Käbi Laretei (1959-1969)
Ingrid von Rosen (1971-1995)
Children Ingmar Bergman Jr.
Eva Bergman (b.1945)
Mats Bergman (b.1948)
Anna Bergman (b.1949)
Daniel Bergman (b.1962)
Linn Ullmann (b.1966)
Academy Awards

Irving G. Thalberg Memorial Award (1971)
César Awards

Best Foreign Film
1984 Fanny och Alexander

Ernst Ingmar Bergman (help·info) (IPA: ['ɪŋmar 'bærjman] in Swedish) (born July 14, 1918) is a Swedish stage and film director who is one of the key film auteurs of the 20th century.




Biography

Bergman was born in Uppsala, Sweden, to a Lutheran minister of Danish descent, Erik Bergman (later chaplain to the King of Sweden), and his wife, Karin (née Åkerblom). He grew up surrounded by religious imagery and discussion. He had a strict upbringing and was locked up in dark closets for infractions such as wetting the bed. Bergman performed two five-month stretches of mandatory military service and attended Stockholm High School and Stockholm University, not completing his course in literature and art but instead becoming interested in theatre and later in cinema (though he had become a "genuine movie addict"[1] by the early 1930s).

Although he grew up in a devout Lutheran household, Bergman states that he lost his faith at age eight but came to terms with this fact only when making Winter Light.[2]

Since the early sixties (with an interruption living in Germany), Bergman lived in Fårö, where he recorded a number of his films. Bergman subsequently moved to Munich, following a protracted battle with the Swedish government over alleged tax evasion, and did not return to make another film in Sweden until 1982, when he directed Fanny and Alexander. Bergman said this would be his last film, and that he would go on to direct theater. Since that time he has made a number of films for television.


Career in film

Technique

As a director, Bergman has favored intuition over intellect, and has chosen to be unaggressive in dealing with actors. Bergman sees himself as having a great responsibility toward them, viewing them as collaborators often in a psychologically vulnerable position. He states that a director must be both honest and supportive in order to allow others their best work.

His films usually deal with existential questions of mortality, loneliness, and faith; they also tend to be direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work in being both existentialist and avant-garde.

Bergman usually wrote his own scripts, thinking about them for months or years before starting the actual process of writing, which he views as somewhat tedious. His earlier films are carefully structured, and are either based on his plays or written in collabortion with other authors. Bergman states that in his later works, when on occasion his actors would want to do things differently from his own intentions, he would let them, noting that the results were often "disastrous" when he did not do so. As his career progressed, Bergman increasingly let his actors improvise their dialogue. In his latest films, he has written just the ideas informing the scene and allowed his actors to determine exact dialogue.


Repertory Company

Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, the late Ingrid Thulin, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann was the last to join this group (in the 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally.

Bergman began working with Sven Nykvist, his cinematographer, in 1953. The two of them developed and maintained a working relationship of sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it was filmed. On the morning of the shoot, he would briefly speak to Nykvist about the mood and composition he hoped for, and then leave Nykvist to work without interruption or comment until post-production discussion of the next day's work.

When viewing daily rushes, Bergman stressed the importance of being critical but unemotional, claiming that he asks himself not if the work is great or terrible, but if it is sufficient or if it needs to be reshot.


"Message"

Bergman encourages young directors not to direct any film that does not have a "message," but to wait until one comes along that does, yet admits that he himself is not always sure of the message of some of his films. By Bergman's own accounts, he has never had a problem with funding. He cites two reasons for it: one, that he does not live in the United States, which he views as obsessed with box-office earnings; and two, that his films tend to be low-budget affairs. (Cries and Whispers, for instance, was finished for about $450,000, while Scenes from a Marriage ?- a six-episode television feature ?- cost only $200,000.) Bergman left Sweden for Munich when investigated by the Swedish tax authorities for tax evasion. Though he was later cleared of the charges, he remained in Munich until 1982, returning in that year to his homeland to direct Fanny and Alexander. Bergman stated that the film would be his last, and that afterwards he would focus on directing theatre. Since then he has directed a number of television specials and written several additional scripts, though he does continue to work in theatre. In 2003, Bergman, at 84 years old, directed a new film, Saraband, that represents a departure from his previous works.


Introspective View on Career

When asked about his movies, he says he holds Winter Light [1], Persona, and Cries and Whispers in the highest regard, though in an interview in 2004, Bergman said that he is 'depressed' by his own films and cannot watch them anymore. [2] In these films, he says, he managed to push the medium to its limit. While he has denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light, and The Silence) as a predetermined trilogy, saying he had no intention of connecting them and cannot see any common motifs in them,[3] this contradicts the introduction Bergman himself wrote in 1964 when he had the three scripts published in a single volume: "These three films deal with reduction. Through a Glass Darkly - conquered certainty. Winter Light - penetrated certainty. The Silence - God's silence - the negative imprint. Therefore, they constitute a trilogy." Clearly, The Criterion Collection sees the films as a trilogy: they have released all three on DVD individually and as a boxed set. It should be noted that Bergman, like many creative artists, is sometimes apt to express himself in a sweeping way, even on his own work, and he has stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of an era when religious questions were a major concern in his films.


Theatrical Work

Although Bergman is universally famous for his contribution to cinema, he has been an active and productive stage director all his life, and has been manager and director of a number of the most prestigious theatres in Sweden, notably the Malmö city theatre in the 1950s and the Stockholm Royal Dramatic Theatre [the national stage of Sweden; executive director there 1963-66 and active as stage director into the 1990s] as well as the Residenz-Theater of Munich, Germany (1977-84). Many of his star actors are people with whom he began working on stage, and a number of people in the "Bergman troupe" of his 1960s films came from Malmö city theatre.


Family Life

Bergman has been married five times:

25 March 1943-1945, to Else Fisher
22 July 1945-1950, to Ellen Lundström
1951-1959, to Gun Grut
1959-1969, to Käbi Laretei
11 November 1971-20 May 1995, to Ingrid von Rosen
The first four marriages ended in divorce, while the last ended when his wife died of stomach cancer.

His daughter, Eva Bergman (born 1945), is also a director, as is his son Daniel Bergman. He is also the father of writer Linn Ullmann, with actress Liv Ullmann. In all, Bergman has nine (acknowledged) children, of whom only two were given birth to by wives of his-Daniel by his penultimate wife and Maria von Rosen by his last wife, who gave birth to her twelve years before she married Bergman. Other children include actress Anna Bergman, actor Mats Bergman, and airline captain Ingmar Bergman, Jr.


Awards

Academy Awards

In 1971, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films have won the Academy Award for Best Foreign Language Film: The Virgin Spring in 1961; Through a Glass Darkly in 1962; and Fanny and Alexander in 1984.

Many filmmakers worldwide, including Americans Woody Allen and Robert Altman, and Russian director Andrei Tarkovsky, have cited the work of Bergman as a major influence on their work.

Dale Robertson
From Wikipedia, the free encyclopedia



Born July 14, 1923
Harrah, Oklahoma, USA

Dale Robertson (born Dayle Lamoine Robertson on July 14, 1923, in Harrah, Oklahoma, in Oklahoma County near Oklahoma City) is an American actor. Robertson started his career in the late 1940s while he was in the U.S. Army. While stationed at San Luis Obispo, California, Robertson went to Amos Carr Studio to have a picture taken for his mother. A copy of the photo displayed in the shop window attracted movie agents. When Robertson left for Hollywood, the actor Will Rogers, Jr., the son of the Oklahoma legend, gave him this advice: "Don't ever take a dramatic lesson. They will try to put your voice in a dinner jacket, and people like their hominy and grits in everyday clothes." Robertson therefore avoided formal acting lessons.

For most of his career, he played in Western movies and TV shows. His two best-remembered series were the westerns Tales of Wells Fargo, in which he played a roving 'trouble-shooter' named "Jim Hardie" for that company, and The Iron Horse, in which he won an incomplete railroad line in a poker game and took up the challenge of running it.

In its March 30, 1959, cover story on TV westerns, Time magazine reported that Robertson stood 6 feet tall, weighed 180 pounds, and had measurements of 42-34-34. Robertson sometimes made use of his physique in "beefcake" scenes such as the one in 1952's Return of the Texan when he's seen bare-chested and sweaty, repairing a fence.

In 1981 he was part of the original starring cast of ABC's popular Dynasty, playing Walter Lankershim, a character who disappeared after the first season. Much later in the series, it was revealed that the character had died.

Robertson was also one of the hosts of the syndicated Death Valley Day during the 1960s. He is well known rodeo speaker, having appeared at such events as the Pike's Peak or Bust Rodeo in Colorado Springs. He received the Golden Boot Award in 1985, has a star on the Hollywood Walk of Fame and is also in the Hall of Great Western Performers. He is an inductee in the Cowboy Hall of Fame in Oklahoma City. He is retired on a ranch near Oklahoma City.

Harry Dean Stanton
From Wikipedia, the free encyclopedia


Born July 14, 1926 (1926-07-14)
West Irvine, Kentucky

Harry Dean Stanton (born July 14, 1926) is an American character actor.

Stanton was born in West Irvine, Kentucky to Ersel and Sheridan Harry Stanton, who divorced when Stanton was in high school; they later re-married. He had two younger brothers, Archie and Ralph. Stanton attended the University of Kentucky in Lexington, Kentucky, where he studied journalism and radio arts. He also studied at the Pasadena Playhouse in Pasadena, California. Stanton is a veteran of World War Two.

Stanton has appeared in both indie and cult films (Two-Lane Blacktop, Cockfighter, Escape from New York, Repo Man), as well as many mainstream Hollywood productions, including Cool Hand Luke, The Godfather Part II, Alien, Red Dawn, Pretty in Pink, and The Green Mile. He has been a favorite actor of Sam Peckinpah, John Milius, and Monte Hellman, and is also close friends with Francis Ford Coppola. His principal lead role was in Wim Wenders's film Paris, Texas.

Stanton is a favorite of film critic Roger Ebert who has said that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." However Ebert later admitted that Dream a Little Dream (1989), in which Stanton appeared, was a "clear violation" of this rule. In the DVD extra interview of Repo Man Harry Dean deeply reviews his outlook on life in a way that is considered "Tao". Currently, he is playing Roman Grant, the manipulative leader of a polygamous sect of Mormonism in the HBO tv series Big Love.

Stanton has also occasionally toured nightclubs as a singer/guitarist, playing mostly country-inflected cover tunes.

The role that Stanton is often associated with, the role of Travis in Paris, Texas, was originally to go to Sam Shepard at the urging of Wim Wenders.

Nancy Olson
From Wikipedia, the free encyclopedia


Nancy Olson (born July 14, 1928 in Milwaukee, Wisconsin) is an Academy Awards-nominated American actress.


Career

Olson was signed to a film contract by Paramount Pictures in 1948 and after a few films in which she played supporting roles, producers began to consider her for more prominent roles. She was considered for the role of Delilah in Cecil B. De Mille's 1949 film Samson and Delilah, a role which Olson later said she was not suited for, and when she was passed over in favor of Hedy Lamarr, Billy Wilder signed her for his upcoming project. In Sunset Boulevard she played Betty Schaefer, a down-to-earth character, who contrasted with the other eccentric and cynical characters, and she received a nomination for an Academy Award for Best Supporting Actress. Her pairing with William Holden was considered a success and she appeared opposite him in several films during the 1950s but none of them repeated their earlier success.

Olson attempted to further her career but was unsuccessful. The Absent-Minded Professor (1960) and Son of Flubber (1961) paired her with Fred MacMurray and were popular with movie-goers but after this her career stalled and she moved to New York where she appeared on Broadway. Throughout the 1960s and 1970s she played guest roles on television and has been retired since the mid 1980s, although she made a brief, uncredited cameo appearance in the 1997 re-make of The Absent-Minded Professor titled Flubber.


Private life

She married the lyricist Alan Jay Lerner in 1950 and did not seriously follow her acting career. They divorced in 1957. In 1962 she married longtime Capitol Records executive Alan W. Livingston, best known for creating "Bozo the Clown" and signing Frank Sinatra and The Beatles among other legends with Capitol.

Polly Bergen
From Wikipedia, the free encyclopedia



Birth name Nellie Paulina Burgin
Born July 14, 1930 (1930-07-14) (age 76)
Knoxville, Tennessee, USA
Spouse(s) Freddie Fields

Polly Bergen (born Nellie Paulina Burgin on July 14, 1930) is a Golden Globe-nominated American actress, singer, and entrepreneur.





Biography

Early life

Bergen was born in Knoxville, Tennessee. Just as other actresses such as Joan Collins and Luise Rainer have done, Bergen publicly revealed that she had undergone an abortion when she was a young woman.


Career

Bergen was a regular panelist on the CBS television game show To Tell the Truth during its debut run. She played the character of Rhoda Henry in two ABC miniseries, The Winds of War and War and Remembrance. She appeared in the 2001 Broadway revival of Stephen Sondheim's Follies at the Belasco Theater and received a Tony Award nomination as Best Featured Actress in a Musical. She also appeared on HBO's The Sopranos.

In 2006, Bergen was a semi-regular cast member of Commander-in-Chief as the President's mother. Her role in that series, about the first female President, is notable because Bergen herself once played a President, in the 1964 film Kisses for My President. One of her most recent appearances was on CBS's Hallmark Hall of Fame presentation Candles on Bay Street (2006), in which she played the assistant to a husband-and-wife team of veterinarians. Bergen also was in several television commercials for Pepsi Cola in the 1950's.


Personal life

Bergen converted to Judaism[citation needed] after having married Hollywood talent agent Freddie Fields, by whom she had one biological child and two adopted children. She had previously been a Southern Baptist; a grandfather was a Baptist minister.[citation needed] She had two other marriages that also ended in divorce. When not working, Bergen lives quietly amongst her Hollywood pals in the Hills of Litchfield County, Connecticut.[citation needed]

Two cannibals just finished a big meal and one turns
to the other while rubbing his belly with his fist
and say, "You know, I just ate my mother-in-law, and
she still doesn't agree with me!"

Two cannibals are eating a clown. One says to the
other, "Does this taste funny to you?"

When do cannibals leave the table?
When everyone's eaten.

The first cannibal asked the 2nd cannibal, "Aren't
you done eating yet?"
The 2nd cannibal replied, "I'm on my last leg now."

Did you hear about the cannibal who loved fast food?
He ordered a pizza with everybody on it.

One cannibal to another: I never met a man I didn't like!

What is a cannibal's favourite type of TV show?
A celebrity roast.

Where do cannibals shop for fine furniture?
Eatin' Allen's.

What do cannibals eat for dessert?
Chocolate covered aunts.

What is a cannibal's favourite game?
Swallow the leader.

What do cannibals make out of politicians?
Bologna sandwiches.

What did the cannibal get when he was late for dinner?
The cold shoulder.

Did you hear about the cannibal who was expelled from school for
buttering up his teacher?

Cannibal's recipe book: How to Serve Your Fellow Man.

5:27 a.m. sitting in the dark listening to Carolyn Hester (Texas Songbird (Warriors Of The Rainbow/Mystic Medicine) who, along with John Hammond, created the career of Bob Dylan.

Good morning, WA2K listeners and contributors.

Wow! a whole lot of activity on our wee station, and I would like to thank everyone for the music and song.

Hey, hawkman, love your cannibal contributions and once again we would like to thank you, Boston Bob, for the bio's.

Before I recognize everyone for the music, let's do this one.

Early Morning Rain
Gordon Lightfoot
In the early mornin' rain
With a dollar in my hand
And an aching in my heart
And my -pockets full of sand
I'm a long ways from home
And I missed my loved one so
In the early mornin' rain
With no place to go

Out on runway number nine
Big 707 set to go
Well I'm out here on the grass
Where the pavement never grows
Where the liquor tasted good
And the women all were fast
There she goes my friend
She's rolling out at last

Hear the mighty engines roar
See the silver wing on high
She's away and westward bound
For above the clouds she flies
Where the mornin' rain don't fall
And the sun always shines
She'll be flying over my home
In about three hours time

This ol' airport's got me down
It's no earthly good to me
'Cause I?m stuck here on the ground
Cold and drunk as I might be
Can't jump a jet plane
Like you can a freight train
So I best be on my way
In the early mornin' rain
So I best be on my way
In the early mornin' rain
So I best be on my way
In the early mornin' rain
Performed by
Bob Dylan

All right, now that I have a brief moment before breakfast, I would like to thank M.D. for the song that alludes to the Apollo theatre. Wild lyrics, honey, but I like them.

Clary, welcome back, gal. So sorry that your little island is sodden, but George Harrison is always welcome with his sunrise song.

Rex, I like that song but it is rather mean to mothers. Thanks, Maine.

edgar, sorry that I couldn't get the message from the flounder, but boy are they great in the frying pan or the oven.

and, dys, I think I answered your Rainbow Warriors with the Gordon Lightfoot song as performed by Bob Dylan. Hope that I didn't miss anyone.

Well, folks, it's a lovely day here, so the sun didn't catch me crying.

Here's another song, listeners, that is odd, but Bob's bio about Terry Thomas made me think of it.

Gary Jules
Mad World


All around me are familiar faces
Worn out places, worn out faces
Bright and early for their daily races
Going nowhere, going nowhere
Their tears are filling up their glasses
No expression, no expression
Hide my head I want to drown my sorrow
No tomorrow, no tomorrow

And I find it kinda funny
I find it kinda sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles
It's a very, very mad world mad world


Children waiting for the day they feel good
Happy Birthday, Happy Birthday
Made to feel the way that every child should
Sit and listen, sit and listen
Went to school and I was very nervous
No one knew me, no one knew me
Hello teacher tell me what's my lesson
Look right through me, look right through me

And I find it kinda funny
I find it kinda sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles
It's a very, very mad world ... world
Enlarge your world
Mad world

Our pretty puppy will prance in later with her fabulous face. (sheeeze, Letty, will you quit with the alliteration?)

Pup here to tell Letty alliteration is good, and nobody does it better -- and to wish all a Good Day.

Terry Thomas; Woody Guthrie; Ingmar Bergman; Dale Robertson; Harry Dean Stanton; Nancy Olson and Polly Bergen.

Letty,
I hope you can consider this a commercial break. I didn't know if you realized that we picked out similar pictures for BumbleBeeBoogie's Birthday post. When I saw that, it made me smile.

well, folks, there's RAGGEDYAGGIE. Fooled you, PA. Thought that I was going to whistle and call you and rub your head, right?

Thanks for the great photo's, gal. I know everyone but Harry Dean Stanton.

Hey, TTH. I realized that, but I was looking for The Flight of the Bumblebee by Rimsky Korsakov and up popped that pix.

This segment of our programming brought to you by TTH. <smile>

Well, we did Mad World for Terry Thomas, now a song from someone who will think about yesterday as a bad bus day.


Artist: Gene Watson
Song: Old Loves Never Die

Don't you think we've come much too far together
To just give up and say words like goodbye
After all we've been through with each other
I still believe that old loves never die

The least that we can do is talk it over
And consider giving our love one more try
I think we owe that much to one another
And I still believe that old loves never die

If our love dies it won't go to Heaven
'Cause it's already been there all the time
If you must go I hope that you'll remember
I still believe that old loves never die

If you must go I hope that you'll remember
I still believe that old loves never die

It seems that Gene Watson and his band were on their way to Nashville and the bus caught on fire. Fortunately, no one was seriously injured. That was one Friday the Thirteenth those guys will remember.

carolyn hester;

john hammond;

Children of Darkness by Richard Farina

in New York City, Fariña wrote and mixed with the bohemians at the White Horse Tavern, the legendary Greenwich Village haunt frequented by poets, artists, folksingers, and wayfarers, where he befriended Tommy Makem. It was there that he met Carolyn Hester, a successful folksinger. They had a whirlwind courtship and married eighteen days later. Fariña appointed himself Hester's agent; they toured worldwide while Fariña worked on his novel and Carolyn performed gigs. Fariña was present when Hester recorded her third album at Columbia studios in September 1961, where a then-unknown Bob Dylan played harmonica on several tracks. Fariña became a close friend of Dylan's; their friendship is a central topic of David Hajdu's Pulitzer Prize-winning book Positively 4th Street.

In Europe in the spring of 1962, Fariña met Mimi Baez, the teenage sister of Joan Baez. Hester divorced Fariña shortly thereafter, and Fariña married 17-year-old Mimi in April 1963. They moved to a tiny cabin in Carmel, California, where they composed songs on a guitar and dulcimer. They debuted their act as "Richard & Mimi Fariña" at the Big Sur Folk Festival in 1964 and were signed to Vanguard Records. They recorded their first album, Celebrations For a Grey Day, with the help of Bruce Langhorne, who had previously played for Dylan.

John Hammond;

Born in New York City to great wealth as the great-grandson of William Henry Vanderbilt, Hammond showed interest in music at an early age. At age four he began studying the piano, only to switch to the violin at age eight. He was steered toward classical music by his mother, but was more interested in the music sung and played by the servants, many of whom were black. In his teens he began listening to black musicians in Harlem, who adopted him as a novel mascot [1] , and in 1927 heard Bessie Smith sing at the Alhambra Theater, a performance which influenced the rest of his life.

In 1928 Hammond entered Yale University, where he studied the violin and, later, viola. He made frequent trips into New York and wrote regularly for trade magazines. Eventually he dropped out of school for a career in the music industry, first becoming the US correspondent for Melody Maker.

In 1931 he funded the recording of pianist Garland Wilson, marking the beginning of a long string of artistic successes as record producer. He moved to Greenwich Village, where he claimed to have engaged in bohemian life and worked for an integrated music world. He set up one of the first regular live jazz programs, and wrote regularly about the racial divide. As he wrote in his memoirs [2], "I heard no color line in the music....To bring recognition to the negro's supremacy in jazz was the most effective and constructive form of social protest I could think of". It should be noted that Hammond was given to exaggeration when speaking of his own achievements, but he had much to be acclaimed for.

He played a role in organizing Benny Goodman's band, and in persuading him to hire black musicians including Charlie Christian Teddy Wilson and Lionel Hampton. In 1933 he heard the 17 year old Billie Holiday perform in Harlem and arranged for her recording debut, on a Benny Goodman session. Four years later, he heard the Count Basie orchestra broadcasting from Kansas City and brought it to New York, where it began to receive national attention.

In 1938, he organized the first "From Spirituals to Swing" concert at Carnegie Hall, presenting a broad program of blues, jazz and gospel artists, including Ida Cox, Big Joe Turner, Sister Rosetta Tharpe, the Count Basie orchestra, Sidney Bechet, Sonny Terry, James P. Johnson, and Big Bill Broonzy (who took the place of the murdered Robert Johnson).

After serving in the military during World War II, Hammond felt unmoved by the bebop jazz scene of the mid-1940s. Rejoining Columbia Records in the late 1950s, he signed Pete Seeger and Babatunde Olatunji to the label, and also discovered Aretha Franklin, then an eighteen year-old gospel singer. In 1961, he heard folk singer Bob Dylan playing harmonica on a session for Carolyn Hester and signed him to Columbia and kept him on the label despite the protests of executives, who referred to Dylan as "Hammond's folly." He produced Dylan's early recordings, "Blowin' in the Wind" and "A Hard Rain's a-Gonna Fall". In the early 1960s, Hammond also oversaw the highly influential posthumous reissues of Robert Johnson's recorded work (produced by Frank Driggs), and signed to the label such artists as Leonard Cohen and Bruce Springsteen.

Hammond retired from Columbia in 1975, but continued to scout for talent. In 1983, he brought guitarist Stevie Ray Vaughan to Columbia and was credited as executive producer on his debut album.

Well, folks, our dys is doing double duty today. Thanks, cowboy, for the background and the pictures. We went to the La Boheme club in the village many years ago. Had a womderful time singing a capella with the Spanish guys who ran it at the time.

A lot of people have done this one, listeners, and among them Carolyn and Bob:

House Of The Rising Sun

There is a house in New Orleans
They call the Rising Sun,
And it's been the ruin for many a poor boy,
And God, I know I'm one.

My mother was a tailor,
Sewed my new blue jeans.
My father was a gamblin' man
Down in New Orleans.

Now, the only thing a gambler needs
Is a suitcase and a trunk,
And the only time he'll be satisfied
Is when he's all adrunk.

Oh, Mother, tell your children
Not to do what I have done,
Spend your lives in sin and misery
In the house of the Rising Sun.

Well, I've got one foot on the platform,
The other foot on the train.
I'm going back to New Orleans
To wear that ball and chain.

Well, there is a house in New Orleans
They call the Rising Sun,
And it's been the ruin for many a poor boy,
And God, I know I'm one.

Far away eyes; long ago memories.

It's a mighty hard row that my poor hands have hoed
My poor feet have traveled a hot dusty road
Out of your Dust Bowl and Westward we rolled
And your deserts were hot and your mountains were cold

I worked in your orchards of peaches and prunes
I slept on the ground in the light of the moon
On the edge of the city you'll see us and then
We come with the dust and we go with the wind

California, Arizona, I harvest your crops
Well its North up to Oregon to gather your hops
Dig the beets from your ground, cut the grapes from your vine
To set on your table your light sparkling wine

Green pastures of plenty from dry desert ground
From the Grand Coulee Dam where the waters run down
Every state in the Union us migrants have been
We'll work in this fight and we'll fight till we win

It's always we rambled, that river and I
All along your green valley, I will work till I die
My land I'll defend with my life if it be
Cause my pastures of plenty must always be free

Woody

Great song by Woody, edgar. How odd that I should find this one, folks.

Artist: Grapes Of Wrath
Song: A Very Special Day


All of that sun
seems too big to be enjoyed
it's time to pass the buck
missing hit, double up fit after fit
'till I can catch my breath
And I found
it's a very special day
when we make a magic crown
make your way
through a scary shimmer town
it's a very special day
Push alone
weaving over bridges home
with coffee canterloin
safe at home
to old sixties sounds we shake
with words out of control
And I found it's a very special day
when we make a magic crown
make your way
through a scary shimmer town
it's a very special day
And I found it's a very special day
when we make a magic crown
make your way
through a scary shimmer town
it's a very special day
And I found it's a very special day
when we make a magic crown
make your way
throught a scary shimmer town
it's a very special day
There again
so all the ties that bound us when
we needed them the most

Weird lyrics!