106
   

WA2K Radio is now on the air

 
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 10:51 am
http://www.youtube.com/watch?v=lF4i2hTDCu4&feature=related

I can't stop with just one Donovan. That last Buffy Sainte-Marie composition by him is great. So is Epistle to Dippy.
0 Replies
 
Letty
 
  1  
Reply Sat 10 May, 2008 11:35 am
Wow! that was one odd song, edgar. Epistle to Dippy? and the mystique involves that man in dark glasses. Love it!

Also Bono of U2's birthday, so let's listen to the Dubliner.

http://www.youtube.com/watch?v=omFdpnSu57U
0 Replies
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 11:59 am
It took a long time for me to appreciate Bono. But, I do, now.
0 Replies
 
Letty
 
  1  
Reply Sat 10 May, 2008 12:23 pm
It took me a long time to appreciate Fred Astaire, edgar, but after I read Neville Shute's On the Beach and Ghost Story. (Peter Straub wrote it, I think) He became more than just a dancer.

What a surprise, folks, to find out that he did this song.

http://www.youtube.com/watch?v=axK53EuZlgQ
0 Replies
 
Victor Murphy
 
  1  
Reply Sat 10 May, 2008 12:25 pm
Bette Midler-Boogie Woogie Bugle Boy Of Company B

He was a famous trumpet man from out Chicago way
He had a boogie style that no one else could play
He was the top man at his craft
But then his number came up and he was gone with the draft
He's in the army now, a-blowin' reveille
He's the boogie woogie bugle boy of Company B

They made him blow a bugle for his Uncle Sam
It really brought him down because he could not jam
The captain seemed to understand
Because the next day the cap' went out and drafted a band
And now the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

A-root, a-toot, a-toot-diddelyada-toot
He blows it eight-to-the-bar, in boogie rhythm
He can't blow a note unless the bass and guitar is playin' with 'im
A-ha-ha-handthe company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

He was some boogie woogie bugle boy of Company B
And when he plays boogie woogie bugle he was busy as a "bzzzy" bee
And when he plays he makes the company jump eight-to-the-bar
He's the boogie woogie bugle boy of Company B

A Toot-diddelyada, Toot-diddelyada, toot-toot
He blows it eight-to-the-bar
He can't blow a note if the bass and guitar isn't with 'im
A-ha-ha-hand the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

He puts the boys to sleep with boogie every night
And wakes 'em up the same way in the early bright
They clap their hands and stamp their feet
Cause they know how he blows when someone gives him a beat
Whoa whoa he breaks it up when he plays reveille
The boogie woogie bugle boy of Company B

A-Root, a toot, a-toot-diddelyada-doot to-to-toot
He blows, eight to the bar
He can blow a note if the bass and guitar isn't Whoa with him
and the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B!
0 Replies
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 01:43 pm
Letty wrote:
It took me a long time to appreciate Fred Astaire, edgar, but after I read Neville Shute's On the Beach and Ghost Story. (Peter Straub wrote it, I think) He became more than just a dancer.

What a surprise, folks, to find out that he did this song.

http://www.youtube.com/watch?v=axK53EuZlgQ


Very nice. I have a good recording of it by Tony Bennet.
0 Replies
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 01:44 pm
Victor's song is a great one, also.
0 Replies
 
Letty
 
  1  
Reply Sat 10 May, 2008 01:45 pm
Victor, Welcome back, buddy. I had no idea that Bette did that one; a bugle may be a thing of the past because no one nowadays knows how to play one. Thanks for the memory.

No occasion in particular, folks, for the next one. It's simply because I love Gershwin.

http://www.youtube.com/watch?v=GYwYj3U_f18
0 Replies
 
bobsmythhawk
 
  1  
Reply Sat 10 May, 2008 01:46 pm
Fred Astaire
From Wikipedia, the free encyclopedia


Born Frederick Austerlitz Jr.
May 10, 1899(1899-05-10)
Omaha, Nebraska, USA
Died June 22, 1987 (aged 88)
Los Angeles, California, USA
Years active 1917-1981
Spouse(s) Phyllis Livingston Potter
(1933-1954)
Robyn Smith
(1980-1987)
Awards won
Academy Awards
Academy Honorary Award
1950 Lifetime Achievement
BAFTA Awards
Best Supporting Actor
1974 The Towering Inferno
Emmy Awards
Outstanding Lead Actor - Miniseries/Movie
1958 An Evening with Fred Astaire
1978 A Family Upside Down
Golden Globe Awards
Best Actor - Motion Picture Musical/Comedy
1951 Three Little Words
Cecil B. DeMille Award
1961 Lifetime Achievement
Best Supporting Actor - Motion Picture
1975 The Towering Inferno
Other Awards
AFI Life Achievement Award
1981 Lifetime Achievement

Fred Astaire (May 10, 1899 - June 22, 1987), born Frederick Austerlitz in Omaha, Nebraska,[1] was an Academy Award-winning American film and Broadway stage dancer, choreographer, singer and actor. His stage and subsequent film career spanned a total of seventy-six years, during which he made thirty-one musical films. He is particularly associated with Ginger Rogers, with whom he made ten films.

George Balanchine and Rudolph Nureyev rated him the greatest dancer of the twentieth century, and he is generally acknowledged to have been the most influential dancer in the history of film and television musicals.[2] He was named the fifth Greatest Male Star of All Time by the American Film Institute.




Biography

1899-1917: Early life and vaudeville career

His father, Frederic "Fritz" Austerlitz,[3][4] was an immigrant from Linz, Austria (a brewer by trade) [1] and a Catholic; his mother Johanna "Ann" Geilus[3] was born in the United States to Lutheran German parents; Astaire became an Episcopalian in 1912.[5]:84

After arriving in New York City, Frederic moved to Omaha, Nebraska hoping to find work in his trade and he landed a job with the Storz Brewing Company. Shortly there after he met and married Ann.

Adele was their first born and she quickly revealed herself to be an instinctive dancer and singer. Early on, Ann dreamed of escaping Omaha by virtue of her children's talents. She envisioned a "brother-and-sister act", which was fairly common to vaudeville at the time. Although he refused dance lessons at first, Fred Jr. easily mimicked his sister's steps. Soon he took up the piano, the accordion, and the clarinet.

When their father became suddenly unemployed, the family moved to New York City to launch the show business career of the children. Adele and Fred Jr. had a teasing rivalry but fortunately they quickly acknowledged their individual strengths ?- his being durability and hers greater overall talent.

Astaire was a name taken by him and his sister in 1905, when they were taking instruction in dance, speaking, and singing in preparation for developing an act. Family legend attributes it to an uncle surnamed "L'Astaire".[6]

Finally, their first act took shape and was called Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. In it, Fred wore a top hat and tails in the first half and a lobster outfit in the second. The goofy act debuted in Keyport, New Jersey in a "tryout theater", and the local paper wrote, "the Astaires are the greatest child act in vaudeville." [7]

After a short time, as a result of their father's salesmanship, Fred and Adele landed a major contract and they played the famed Orpheum circuit throughout the United States, including Omaha. Soon Adele grew to at least three inches taller than Fred and the pair began to look incongruous. The family decided to take a two-year break from show business, also to avoid trouble from the Gerry Society and the child labor laws of the time.

Their career resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. From Aurelia Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle.

Some sources [8] state that the Astaire siblings appeared in a 1915 film entitled Fanchon, the Cricket, starring Mary Pickford, but the Astaires have consistently denied this.[9][10]:103

While on the hunt for new music and dance ideas, Fred Astaire first met George Gershwin, who was working as a song plugger in Jerome H. Remick's, in 1916.[11] Their chance meeting was to have profound consequences for the subsequent careers of both artists.

Astaire was always on the lookout for new steps he spotted on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. Finally, they broke into Broadway with Over The Top (1917), a patriotic revue.


1917-1933: Stage career - Broadway and London

They followed up with several more shows and of their work in The Passing Show of 1918, Heywood Broun wrote "In an evening in which there was an abundance of good dancing, Fred Astaire stood out...He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."[12]

By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, due in part to Fred's careful preparation and strong supporting choreography.

During the 1920s, Fred and Adele appeared on Broadway and on the London stage in shows such as George and Ira Gershwin's Lady Be Good (1924) and Funny Face (1927), and later in The Band Wagon (1931), winning popular acclaim with the theater crowd on both sides of the Atlantic.

After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount studios but were not considered suitable for films.

They split in 1932, when Adele married her first husband, Lord Charles Cavendish, a son of the Duke of Devonshire. Fred Astaire went on to achieve success on his own on Broadway and in London with Gay Divorce, while considering offers from Hollywood. The end of the partnership was traumatic for Astaire but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing, and with a new partner Claire Luce, he created a romantic partnered dance to Cole Porter's "Night and Day", which had been written for Gay Divorce. This number was credited with the success of the stage play and, when recreated in the film version of the play The Gay Divorcee (1934), ushered in a new era in filmed dance.[13]:23,26,61 Recently, film footage taken by Fred Stone, of Astaire performing in Gay Divorce with Luce's successor Dorothy Stone in New York in 1933 was uncovered by dancer and historian Betsy Baytos, and now represents the earliest extant performance footage of Astaire.[14]


1933-1939: Astaire and Rogers at RKO

The announcement of the Astaire-Rogers screen partnership - from the trailer to Flying Down to Rio. This is the only time Rogers took billing over Astaire.According to Hollywood folklore, a screen test report on Astaire for RKO Pictures, now lost along with the test, is supposed to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures Pandro S. Berman claimed he had never heard the story in the 1930s and that it only emerged years later.[13]:7 Astaire, in a 1980 interview on ABC's 20/20 with Barbara Walters, insisted that the report had actually read: "Can't act. Slightly bald. Also dances".[15] In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, described it as "wretched" in a 1933 studio memo.[13]:7 However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film Dancing Lady.

On his return to RKO Pictures, he got fifth billing alongside Ginger Rogers in the 1933 Dolores Del Rio vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence: "The main point of Flying Down to Rio is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."[13]:7

Although Astaire was initially very reluctant to become part of another dance team, he was persuaded by the obvious public appeal of the Astaire-Rogers pairing. That partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), and Carefree (1938). Six out of the nine musicals he created became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex."[16]:134

Astaire easily received the benefits of a percentage of the film's profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.[17]

Astaire is credited with two important innovations in early film musicals.[13]:23,26 First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will."[13]:420 Astaire maintained this policy from The Gay Divorcee (1934) onwards, until overruled by Francis Ford Coppola, who directed Finian's Rainbow (1968), his first film musical.[18] Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire ?- which he termed his "sock solo" ?- a partnered comedy dance routine, and a partnered romantic dance routine.


An RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in Roberta (1935)Dance commentators Arlene Croce[16]:6 , Hannah Hyam[19]:146,147 and John Mueller[13]:8,9 consider Rogers to have been Astaire's greatest dance partner, while recognizing that some of his later partners displayed superior technical dance skills, a view shared[20] by Hermes Pan and Stanley Donen.[21] Film critic Pauline Kael adopts a more neutral stance,[22] while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."[23]

Mueller sums up Rogers' abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."[24]

However, Astaire was still unwilling to have his career tied exclusively to any partnership, having already been linked to his sister Adele on stage. He even negotiated with RKO to strike out on his own with A Damsel in Distress in 1937, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). When both lost money, Astaire left RKO, while Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 for their final outing, The Barkleys of Broadway.


1940-1947: Drifting to an early retirement

In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell - considered the finest female tap-dancer of her generation - in Broadway Melody of 1940 where they performed a celebrated extended dance routine to Cole Porter's Begin the Beguine. He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin on the Ritz". Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra.

He made two pictures with Rita Hayworth: the first You'll Never Get Rich (1941) catapulted Hayworth to stardom and provided Astaire with his first opportunity to integrate Latin-American dance idioms into his style, taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942) was equally successful, and featured a duet to Kern's "I'm Old Fashioned" which became the centerpiece of Jerome Robbins' 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943) where he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona and confused contemporary critics.

His next partner, Lucille Bremer, featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946) which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide", a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office and Astaire, ever insecure and believing his career was beginning to falter surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin on the Ritz" as his farewell dance.

After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and went on to found the Fred Astaire Dance Studios in 1947 ?- which he subsequently sold in 1966.


1948-1957: Productive years with MGM and second retirement

However, he soon returned to the big screen to replace the injured Gene Kelly in Easter Parade opposite Judy Garland and Ann Miller, and for a final reunion with Rogers in The Barkleys of Broadway (1949). He then went on to make more musicals throughout the 1950s: Let's Dance (1950) with Betty Hutton, Royal Wedding (1951) with Jane Powell, Three Little Words (1950) and The Belle of New York (1952) with Vera-Ellen, The Band Wagon (1953) and Silk Stockings (1957) with Cyd Charisse, Daddy Long Legs (1955) with Leslie Caron, and Funny Face (1957) with Audrey Hepburn. His legacy at this point was thirty musical films in twenty-five years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).


1958-1981: Branching out into televised dance and straight acting

Astaire did not retire from dancing completely. He made a series of four highly rated, Emmy-winning musical specials for television in 1958, 1959, 1960, and 1968, each featuring Barrie Chase, with whom Astaire enjoyed an Indian summer of dance creativity. The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards,[25] including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape, and has recently been restored.

Astaire's last major musical film was Finian's Rainbow (1968), in which he shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Fort Knox it will multiply. His dance partner was Petula Clark, who portrayed his skeptical daughter. He admitted to being as nervous about singing with her as she confessed to being apprehensive about dancing with him. But unfortunately for him, the film, directed by Francis Ford Coppola, was a box-office failure.

Astaire continued to act into the 1970s, appearing on television as the father of Robert Wagner's character of Alexander Mundy in It Takes a Thief and in films such as The Towering Inferno (1974), for which he received his only Academy Award nomination in the category of Best Supporting Actor. He voiced the mailman narrator in 1970's classic animated film, Santa Claus is Comin' to Town. He appeared in the first two That's Entertainment! documentaries in the mid-1970s. In the second, aged seventy-six, he performed a number of song-and-dance routines with Gene Kelly -- which marked his last dance performances in a musical film. In the Summer of 1975, he made three albums in London, Attitude Dancing, They Can't Take These Away From Me, and A Couple of Song and Dance Men, the last an album of duets with Bing Crosby. In 1978, Fred Astaire co-starred with Helen Hayes in a well-received television film, A Family Upside Down, in which they play an elderly couple coping with failing health. Astaire won an Emmy Award for his performance. He made a well-publicized guest appearance on the science fiction TV series Battlestar Galactica in 1979, as Chameleon, the maybe-father of Starbuck, in the installment "The Man With Nine Lives", a role written for him by Donald P. Bellisario after Astaire asked his agent to obtain a role for him in that series program. His final film role was the 1981 adaptation of Peter Straub's novel Ghost Story. This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks Jr.


Working methods and influence on filmed dance


Astaire was a virtuoso dancer, able to convey lighthearted adventuresomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing. Long after the photography for the solo dance number "I Want To Be A Dancin' Man" was completed for the 1952 feature "The Belle Of New York", it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was re-shot. The 1994 documentary "That's Entertainment! Part III" shows the two performances side-by-side in splitscreen. Frame for frame, the two performances are absolutely identical, down to the subtlest gesture.

Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other African-American rhythms, classical dance and the elevated style of Vernon and Irene Castle, to create a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance, and set standards against which subsequent film dance musicals would be judged. He choreographed all his own routines, usually with the assistance of other choreographers, primarily Hermes Pan.

His perfectionism was legendary, as was his modesty and consideration towards his fellow artists; however, his relentless insistence on rehearsals and retakes was a burden to some. Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the adulation of such twentieth century dance legends as George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Gene Kelly, Rudolph Nureyev, Michael Jackson and Bill Robinson.


Influence on popular song

Extremely modest about his singing abilities ?- he frequently claimed that he couldn't sing[27] ?- Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" in Gay Divorce (1932); Irving Berlin's "Isn't This a Lovely Day?", "Cheek to Cheek" and "Top Hat, White Tie and Tails" in Top Hat (1935), "Let's Face the Music and Dance" in Follow the Fleet (1936) and "Change Partners" in Carefree (1938). He first presented Jerome Kern's "The Way You Look Tonight" in Swing Time (1936); the Gershwins' "They Can't Take That Away From Me" in Shall We Dance (1937), "A Foggy Day" and "Nice Work if You Can Get it" in A Damsel in Distress (1937); Johnny Mercer's "One for My Baby" from The Sky's the Limit (1943) and "Something's Gotta Give" from Daddy Long Legs (1955); and Harry Warren and Arthur Freed's "This Heart of Mine" from Ziegfeld Follies (1946).


Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from Stop Flirting (1923), "Fascinating Rhythm" in Lady, Be Good (1924), "Funny Face" in Funny Face (1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting all My Eggs in One Basket" in Follow the Fleet (1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" in Swing Time (1936), along with The Gershwins' "Let's Call The Whole Thing Off" from Shall We Dance (1937). With Judy Garland, he sang Irving Berlin's "A Couple of Swells" from Easter Parade (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Betty Comden and Adolph Green's "That's Entertainment" from The Band Wagon (1953).

Although he possessed a light voice, he was admired for his lyricism, diction and phrasing[28] - the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "The world's greatest musical performer."[13]:21 Irving Berlin considered Astaire the equal of any male interpreter of his songs - "as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song".[2] Jerome Kern considered him the supreme male interpreter of his songs[13]:21 and Cole Porter and Johnny Mercer also admired his unique treatment of their work. And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him.[13]:123,128 In his heyday, Astaire was referenced[2] in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.[29]

Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" - written with lyricist Johnny Mercer - reaching number 4 in the Hit Parade of 1936.[30] He recorded his own "It's Just Like Taking Candy from a Baby" with Benny Goodman in 1941, and nurtured a lifelong ambition to be a successful popular song composer.[31]


Awards and honors

Fred Astaire has accrued the following awards and honors:[32]

1938 - Invited to place his hand and foot prints in cement at Grauman's Chinese Theatre, Hollywood.
1950 - Ginger Rogers presented an honorary Academy Award to Astaire "for his unique artistry and his contributions to the technique of musical pictures".

Astaire's hand and foot prints at Grauman's Chinese Theater1950 - Golden Globe for "Best Motion Picture Actor -Music/Comedy" for Three Little Words.
1958 - Emmy Award for "Best Single Performance by an Actor" for An Evening with Fred Astaire.
1959 - Dance Magazine award.
1960 - Nominated for Emmy Award for "Program Achievement" for Another Evening with Fred Astaire.
1960 - Golden Globe Cecil B. DeMille Award for "Lifetime Achievement in Motion Pictures".
1961 - Emmy Award for "Program Achievement" in 1961 for Astaire Time.
1961 - Voted Champion of Champions - Best Television performer in annual television critics and columnists poll conducted by Television Today and Motion Picture Daily.
1965 - The George Award from the George Eastman House for "outstanding contributions to motion pictures".
1968 - Nominated for an Emmy Award for Musical Variety Program for The Fred Astaire Show.
1972 - Named Musical Comedy Star of the Century by Liberty Magazine.
1973 - Subject of a Gala by the Film Society of Lincoln Center.
1975 - Golden Globe for "Best Supporting Actor", BAFTA and David di Donatello awards for The Towering Inferno.

1978 - Emmy Award for "Best Actor - Drama or Comedy Special" for A Family Upside Down.
1978 - Honored by the Academy of Television Arts & Sciences.
1978 - First recipient of the Kennedy Center Honors.
1978 - National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre".
1981 - The Lifetime Achievement Award from the AFI.
1982 - The Anglo-American Contemporary Dance Foundation announces the Astaire Awards "to honor Fred Astaire and his sister Adele and to reward the achievement of an outstanding dancer or dancers." The awards have since been renamed The Fred and Adele Astaire Awards.
1987 - The Capezio Dance Shoe Award (co-awarded with Rudolph Nureyev).
1989 - Posthumous award of Grammy Lifetime Achievement Award.
1991 - Posthumous induction into the Ballroom Dancer's Hall of Fame.
2000 - Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of Lismore, County Waterford, Ireland.
2008 - Conference to honor the life and work of Fred Astaire at Oriel College, University of Oxford, June 21-24.[33]
Awards
Preceded by
John Houseman
for The Paper Chase Golden Globe Award for Best Supporting Actor - Motion Picture
1975
for The Towering Inferno Succeeded by
Richard Benjamin
for The Sunshine Boys


Personal life

Always immaculately turned out, Astaire remained something of a male fashion icon even into his later years, eschewing his trademark top hat, white tie and tails (which he always despised) in favor of a breezy casual style of tailored sports jackets, colored shirts, cravates and slacks ?- the latter usually held up by the idiosyncratic use of an old tie in place of a belt. Astaire was also inspired by Bill "Bojangles" Robinson to do tap dancing as well.[34]

Astaire married for the first time in 1933, to the 25-year-old Phyllis Potter (née Phyllis Livingston Baker, 1908-1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906-1981), after pursuing her ardently for roughly two years. Potter's death from lung cancer, at the age of 46, would end 21 years of a blissful marriage and leave Astaire devastated.[35] At the time he would attempt to quit Daddy Long Legs, his current project, making an unprecedented offer to the studio to pay all production costs to date out of pocket ?- but he ultimately decided to continue with the picture as a means of distracting from his grief (and also because Potter had wanted him to make it).[36] Henceforth, he remained as busy as possible.

In addition to Potter's son, Eliphalet IV, known as Peter, the Astaires had two children, Fred, Jr. (born 1936, he appeared with his father in the movie Midas Run, but became a charter pilot and rancher instead of an actor) and Ava (born 1942, she remains actively involved in promoting her late father's heritage).

Described by his friend David Niven as "a pixie ?- timid, always warm-hearted, with a penchant for schoolboy jokes", Astaire was a lifelong golf and horse-racing enthusiast, whose horse Triplicate won the 1946 Hollywood Gold Cup. He remained physically active[37] well into his eighties and remarried in 1980, to Robyn Smith, an actress turned champion jockey almost 45 years his junior. Smith was a jockey for Alfred G. Vanderbilt II.

Astaire died on June 22, 1987, from pneumonia at the age of 88 and was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California.[38] One last request of his was to thank his fans for their years of support.

Astaire has never been portrayed on film.[39] He always refused permission for such portrayals, saying, "However much they offer me - and offers come in all the time - I shall not sell."[40] Astaire's will included a clause requesting that no such portrayal ever take place; he commented, "It is there because I have no particular desire to have my life misinterpreted, which it would be."[41]
0 Replies
 
bobsmythhawk
 
  1  
Reply Sat 10 May, 2008 01:50 pm
Dimitri Tiomkin
From Wikipedia, the free encyclopedia

Born Dmitri Zinovievich Tiomkin
May 10, 1894(1894-05-10)
Kremenchuk, Poltava, Ukraine
Died November 11, 1979 (aged 85)
London, England
Years active 1929 - 1987
Awards won
Academy Awards
Best Original Score
1952 High Noon
1954 The High and the Mighty
1958 The Old Man and the Sea
Best Original Song
1952 High Noon
Golden Globe Awards
Best Original Score
1952 High Noon
1960 The Alamo
1961 The Guns of Navarone
1964 The Fall of the Roman Empire
Best Original Song
1961 Town Without Pity
1964 Circus World
Special Award
1955 For creative musical contribution to Motion Picture
1957 Recognition for film music

Dimitri Zinovievich Tiomkin (Russian: Дмитрий Зиновьевич Тёмкин, Dmitrij Zinov'evič Tëmkin, sometimes translated as Dmitri Tiomkin) (May 10, 1894 - November 11, 1979) was a film score composer and conductor. Along with Max Steiner, Miklós Rózsa and Franz Waxman, Tiomkin was one of the most productive and decorated film music writers of Hollywood.





Biography

Tiomkin was born in Kremenchug, Ukraine and educated at the Saint Petersburg Conservatory in Russia, where he studied piano with Felix Blumenfeld and harmony and counterpoint with Alexander Glazunov. In 1920, while working for the Petrograd Military District Political Administration (PUR), he was one of the lead organizers of two revolutionary mass spectacles, the "Mystery of Liberated Labor," a pseudo-religious mystery play for the May Day festivities, and "The Storming of the Winter Palace" for the celebrations of the third anniversary of the Bolshevik Revolution.[1]

In 1924 Tiomkin left the USSR[2] and moved to Berlin, where his father was practising as a doctor, and had lessons with Ferruccio Busoni. He emigrated to the United States in 1925, moved to Hollywood in 1930 with his wife, dancer Albertina Rasch (1895-1967), and became an American citizen in 1937.

Although influenced by Eastern European music traditions, he was able to score typical American movies like Frank Capra's famous Lost Horizon (1937) or It's a Wonderful Life (1946) and also Mr. Smith Goes to Washington (1939), both with James Stewart. He also worked on Fred Zinnemann's High Noon (1952), which also won him a "Best Song" Oscar for "Do Not Forsake Me, Oh My Darlin'(The Ballad of High Noon)". In 1954, he won the Academy Award for best scoring of the John Wayne film The High and the Mighty; during the telecast ceremonies, Tiomkin humorously thanked all of the earlier composers who had influenced him in writing this music.

Many classic scores followed, many of which were Western movies, like The High and the Mighty (1954), Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), Rio Bravo (1959), The Alamo (1960), The Guns of Navarone (1961), Town Without Pity (1961), 55 Days at Peking (1963), The Fall of the Roman Empire (1964), and The War Wagon (1967).

Besides cinema he was also active in writing for the small screen, writing some memorable television theme-songs, as for Rawhide (1959) and Gunslinger. He was also hired to write the theme for TV's The Wild Wild West (1965), but the producers rejected his themes and hired Richard Markowitz. A cover version of the theme from Rawhide was performed in the 1980 cult musical film The Blues Brothers.

Dimitri Tiomkin died in London, England in 1979 and was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.


Legacy

A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD.

In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.
0 Replies
 
bobsmythhawk
 
  1  
Reply Sat 10 May, 2008 01:58 pm
Bono
From Wikipedia, the free encyclopedia

Background information

Birth name Paul David Hewson
Also known as Bono
Born 10 May 1960 (1960-05-10) (age 48)
Origin Dublin, Ireland
Genre(s) Rock, alternative rock
Occupation(s) Musician, singer-songwriter, activist, philanthropist
Instrument(s) Vocals, guitar, harmonica
Years active 1976 - present
Associated acts U2
Website www.u2.com
Notable instrument(s)
Gretsch Irish Falcon

Paul David Hewson (born 10 May 1960), also known by his stage name Bono, is the main vocalist of the Irish rock band U2. Bono was born and raised in Dublin, Ireland, and attended Mount Temple Comprehensive School where he met his wife, Ali Hewson, and the future members of U2.[1][2][3] Since that time he has been referred to as Bono, his stage and nickname, by his family and fellow band members.[2] Bono writes almost all U2 lyrics, often using political, social and religious themes.[4][5] During their early years, Bono's lyrics contributed to U2's rebellious tone.[4] As the band matured, his lyrics became inspired more by personal experiences with members of U2.[4][2]

Among his non-U2 endeavors, he has collaborated and recorded with numerous artists,[6][7][8] sits on the board of Elevation Partners and has refurbished and now owns a hotel with fellow band member, The Edge.[9][10] Bono is also widely known for his activism concerning Africa, for which he co-founded DATA.[11] He has organized and played in several benefit concerts and has met with influential politicians.[12][11][13] He is the co-founder of EDUN, the ONE Campaign and Product Red.[2] Bono has been praised and criticized for his activism and involvement with U2.[14][15][16] Bono has been nominated for the Nobel Peace Prize, was granted an honorary knighthood by the United Kingdom, and was named as a Person of the Year by Time,[14][17][18] among many other awards and nominations.




Biography



Childhood

Bono and his brother, Norman Hewson, were raised in Dublin, by their mother, Iris (née Rankin), a Church of Ireland Anglican, and father, Brendan Robert "Bob" Hewson, a Roman Catholic.[1][2] His parents initially agreed that the first child would be raised Anglican and the second Catholic. [19] Although Bono was the second child, he also attended Church of Ireland services with his mother and brother.[19]

Bono was four years old when he first heard I Want To Hold Your Hand by The Beatles. Watching TV with his brother after Christmas, he was impressed by the sensation the song gave, the melodic potency, and the haircuts of the strange band. Then he heard singers such as Tom Jones, Elvis and Bob Dylan. When he was 12, he heard Imagine by John Lennon. He felt like Lennon was speaking directly to him, sharing his ideas and inspirations. His brother had a book of Beatles' songs and he tried to teach Bono to play the guitar. In the 80's Yoko Ono told Bono that he was the son of John. When Bono was 15, he started listening to rock bands such as The Who, The Rolling Stones and Led Zeppelin.

Bono grew up in what could be called a medium-low class neighbourhood. His home was a typical three-room house. The smallest room was Bono's. Bono was 14 when his mother died on 10 September 1974 after suffering a cerebral aneurysm at her father's funeral.[2] Many songs from U2's albums, including "I Will Follow", "Mofo", "Out of Control", "Lemon" and "Tomorrow", focus on the loss of his mother.[20][21][2][22] Many other songs focus on the theme of childhood vs. maturity such as "Into the Heart," "Twilight" and "Stories for Boys."

Bono was a teenager trying to find his place in a world that didn't seem to offer great possibilities. His father had the typical Irish attitude, he came from Dublin's center. He loved opera: his passion was music and he was a great tenor. Bob Hewson's greatest frustration was not having learned to play the piano. He didn't encourage Bono and his brother to have great ideas (musical; etc). He believed that dreaming was disillusion. Bono was a brilliant boy, until adolescence when he thought of himself an idiot. His school marks suffered: he couldn't concentrate. When he realized that there was world outside of school, he started meeting with a group of friends and doing performances to provoke people in buses. They invented a world called Lypton Village. This group had lots of fights with other bands from other neighborhoods. Bono and Guggi (one of Bono's friends in that time) managed to defend themselves from other people. Bono believes those teenagers who he used to fight with, didn't have any sense of mortality. The band in which Bono was involved didn't drink alcohol. They used to laugh about those who drank and fell in the street.

In 1976, Bono was at school, was often feeling angry inside, he didn't do his homework often and at that time was living with his father and his brother. He thought his friends would have great lives because they were intelligent, and he probably would not because he could not concentrate. He had melodies in his head and while he could imagine the notes, he couldn't play them. Bono read an advert on the noticeboard at school from a younger schoolmate Larry Mullen who played drums and who wanted to form a band. (Bono was 16 at the time). On the advice of a friend, Reggie Manuel, Bono decided to audition. Larry was set up in a small kitchen with his drum kit ready. Other attendees included Dave Evans, who seemed to be an intelligent guy and was 15 years old. His brother Dick, who seemed even more intelligent, had managed to build his own guitar. Adam Clayton was present with his amplifier and bass guitar. The roots of U2 as we know them started here. About a month later Bono started seeing Ali, who later became his wife. That was a great month for Bono, joining a band and finding a girlfriend. The fledgling band had occasional sessions in which they did covers. Bono wanted to play Rolling Stones and The Beach Boys. They couldn't play those covers very well so they started writing their own songs, influenced by artists such as The Ramones, The Clash, David Bowie, Patti Smith and Tom Verlaine.

In 2005, he told Rolling Stone that "I believe there's a force of love and logic...behind the universe. And I believe in the poetic genius of a creator who would choose to express such unfathomable power as a child born in 'straw poverty'; i.e., the story of Christ makes sense to me." He added, "I guess that would make me a Christian. Although I don't use the label, because it is very hard to live up to. I feel like I'm the worst example of it, so I just kinda keep my mouth shut."[23]


Personal life

Bono is married to Alison Hewson (née Alison Stewart). Their relationship began in 1975 and the couple were married on 21 August 1982 in a Church of Ireland (Anglican) ceremony at All Saints Church, Raheny (built by the Guinness family), with Adam Clayton acting as Bono's best man.[3] The couple have four children, daughters Jordan and Memphis Eve, and sons Elijah Bob Patricius and John Abraham.[24] Bono lives in Killiney in south County Dublin, Ireland, with his family and shares a villa in Èze in the Alpes-Maritimes in the south of France with U2 bandmate The Edge, as well as an apartment at The San Remo in Manhattan.[25]

Bono is almost never seen in public without sunglasses. During a Rolling Stone interview he stated:

" [I have] very sensitive eyes to light. If somebody takes my photograph, I will see the flash for the rest of the day. My right eye swells up. I've a blockage there, so that my eyes go red a lot. So it's part vanity, it's part privacy and part sensitivity.[26] "

His use of sunglasses on stage has progressed through his career with U2. During the 1980s, he was rarely seen wearing sunglasses. During the 1992-93 Zoo TV Tour, he wore sunglasses for parts of the show, though usually in character as The Fly (with large, dark wraparound shades) or Mirrorball Man (with more typical, round sunglasses). In the 1997-98 Popmart Tour, he wore larger, tinted wraparound shades with thick frames. By the early 2000s, his sunglasses were commonly blue, and more goggle shaped. He would, however, remove them for most of the actual shows on the Elevation Tour. Starting around the time of U2's 2004 How to Dismantle an Atomic Bomb, Bono began wearing his signature Armani sunglasses. These were usually red or green tinted, and had no frames around the lenses. He wore these for most of every show on the Vertigo Tour, with the rare exceptions being songs like Sometimes You Can't Make it on Your Own, Running to Stand Still, and Miss Sarajevo. He has been wearing sunglasses in most interviews and public appearances since the late '90s.


Stage name

Bono attended Mount Temple Comprehensive School, a multi denominational school in Clontarf. During his childhood and adolescence, Bono and his friends were part of a surrealist street gang called "Lypton Village," which had a ritual of nickname-giving. He had several names: first, he was "Steinvic von Huyseman", then just "Huyseman", then "Houseman", then "Bon Murray", "Bono Vox of O'Connell Street", and finally just "Bono".[2]

"Bono Vox" is an alteration of Bonavox, a Latin phrase which translates to "a good voice", as in "I'd do anything for a good voice". It is said he was nicknamed "Bono Vox" by his friend Gavin Friday, after a hearing aid shop they regularly passed in Dublin because he sang so loudly he seemed to be singing for the deaf. Initially, Bono did not like this name. However, when he learned it loosely translated to "good voice", he accepted it. Hewson has been known as "Bono" since the late seventies, even before formation of U2. Although he uses Bono as his stage name, close family and friends also refer to him as Bono, including his wife and fellow band members.[2]


U2


On 25 September 1976, Bono, The Edge (David Howell Evans), Dick Evans, and Adam Clayton responded to an advertisement by fellow student Larry Mullen Jr. to form a rock band. The band had occasional sessions in which they did covers. Bono wanted to play Rolling Stones and The Beach Boys: he was tired of long guitar solos and hard rock. They couldn't play covers very well, so they started writing their own songs. In 1977 they started hearing The Ramones, The Clash, David Bowie, Patti Smith and Tom Verlaine. Their band went by the name "Feedback" for a few months, changing to "The Hype" later on. After Dick (nicknamed 'Dik') Evans left the group to join another local band, the Virgin Prunes, the remaining four officially changed the name from "The Hype" to "U2". Initially Bono sang, played guitar, and wrote the band's songs. He said of his early guitar playing in a 1982 interview, "When we started out I was the guitar player, along with the Edge - except I couldn't play guitar. I still can't. I was such a lousy guitar player that one day they broke it to me that maybe I should sing instead. I had tried before but I had no voice at all. I remember the day I found I could sing. I said, 'Oh, that's how you do it.'"[27] When The Edge's guitar playing improved, Bono was relegated mostly to the microphone, although he occasionally still plays rhythm guitar and harmonica. Bono has recently taken piano lessons from his children's piano teacher.[28]

Bono writes the lyrics for almost all U2 songs, often rich in social and political themes.[4] His lyrics frequently allude to a religious connection or meaning, evident in songs such as "Gloria" from the band's album October and "I Still Haven't Found What I'm Looking For", from The Joshua Tree album.[5] During the band's early years, Bono was known for his rebellious tone which turned to political anger and rage during the band's War, The Joshua Tree and Rattle and Hum eras.[4] Following the Enniskillen bombing that left 11 dead and 63 injured on 8 November 1987, the Provisional IRA paramilitaries threatened to kidnap Bono. IRA supporters also attacked a vehicle carrying the band members. These acts were in response to his speech condemning the Remembrance Day Bombing during a live performance of "Sunday Bloody Sunday".[2] The singer had been advised to cut his on-stage outburst from the Rattle and Hum film, but it was left in.[29]

U2's sound and focus dramatically changed with their next album, Achtung Baby. Bono's lyrics became more personal, inspired by experiences related to the private lives of the members of the band.[4][2] During the band's Zoo TV Tour several of his stage personas were showcased; these included "The Fly", a stereotypical rock star, the "Mirror Ball Man", a parody of American televangelists, and "Mr. MacPhisto", a combination of a corrupted rock star and the Devil.[4][2]

During performances he attempts to interact with the crowd as often as possible and is known for pulling audience members onto the stage or moving himself down to the physical level of the audience.[2] This has happened on several occasions including at the Live Aid concert in 1985 where he leapt off the stage, over a security barricade to the floor of the arena, and pulled a woman from the crowd to dance with her as the band played "Bad", and in 2005 during U2's Vertigo Tour stop in Chicago, where he pulled a boy onto the stage during the song "An Cat Dubh / Into the Heart".[2][30]

Bono has won numerous awards with U2, including 22 Grammy awards and the 2003 Golden Globe award for best original song, "The Hands That Built America" for the film Gangs of New York.[15][31] During the live broadcast of the ceremony, Bono called the award "really, really ******* brilliant!"[32] In response, the Parents Television Council condemned Bono for his profanity and started a campaign for its members to file complaints with the FCC.[33] Although Bono's use of "****" violated FCC indecency standards, the FCC refused to fine NBC because the network did not receive advance notice of the consequences of broadcasting such profanity and the profanity in question was not used in its literal sexual meaning.[34]

In 2005, the U2 band members were inducted into the Rock and Roll Hall of Fame, in their first year of eligibility.[35]

Bono and his bandmates were criticized in 2007 for moving part of their multi-million euro song catalogue from Ireland to Amsterdam six months before Ireland ended a tax exemption on musicians' royalties.[16] Under Dutch tax law, bands are subject to low to non-existent tax rates.[16] U2's manager, Paul McGuinness, stated that the arrangement is legal and customary and businesses often seek to minimize their tax burdens.[16] The move prompted criticisms in the Oireachtas (Irish parliament).[36][37]


Other endeavours

In addition to his work with U2, he has collaborated with Zucchero, Frank Sinatra,[6] Johnny Cash,[7] Willie Nelson,[38] Luciano Pavarotti,[39] Sinéad O'Connor,[40] Green Day, Roy Orbison,[41] Bob Dylan,[8] Tina Turner,[42] and BB King.[43] He has recorded with Ray Charles,[44] Quincy Jones,[44] Bruce Springsteen,[45] Tony Bennett,[46] Clannad,[47] The Corrs,[48] and Wyclef Jean,[49] as well as reportedly completing an unreleased duet with Jennifer Lopez.[50] On Robbie Robertson's 1987 eponymous album, he plays bass guitar and vocals.[51] On Michael Hutchence's 1999 posthumous eponymous album Bono completed a recording of Slide Away as a duet with Hutchence.[52]

In 1992, together with The Edge, Bono bought and refurbished Dublin's two-star 70-bedroom Clarence Hotel and converted it into a five-star 49-bedroom hotel.[10] The Edge and Bono have also recorded several songs together, exclusive of the band. They have also been working on penning the score for the upcoming Spider-Man Musical.[53] Bono is on the board of the Elevation Partners private-equity firm, which attempted to purchase Eidos Interactive in 2005 and has since gone on to invest in other entertainment businesses.[9][54] Bono is a known Celtic F.C. fan,[24] and in 1998 it was rumoured that Bono was going to buy shares in the Scottish club.[55] However, it was reported on 28 April 1998 that this was not the case with Bono saying "it's rubbish. I've been to a couple of games and I'm a fan, but I've got no financial connections."[56]

In May 2007, MTV reported that Bono is working on a collection of poetry entitled "Third Rail".[57] Bono said the poetry is inspired by rock music. The book's foreword gives detail of the meanings of the poetry, saying "The poets who fill the pews here have come to testify, to bear witness to the mysterious power of rock and roll...Rock and roll is truly a broad church, but each lights a candle to their vision of what it is."[57] The collection, which is edited by poet Jonathan Wells, contains titles such as "Punk Rock You're My Big Crybaby," "Variation on a Theme by Whitesnake" and "Vince Neil Meets Josh in a Chinese Restaurant in Malibu (After Ezra Pound)."[57] Bono has invested in the Forbes Media group in the US through his private equity investment firm Elevation Partners. Elevation Partners became the first outsider to invest in the company, taking a minority stake in Forbes Media LLC, a new company encompassing the 89-year-old business which includes Forbes magazine, the Forbes.com website and other assets. The terms of the deal were not disclosed, but reports said the stake was worth about €194 million ($250m).[58]

In film, Bono has played the character of "Dr. Robert", an anti-war shaman, in the musical, Across the Universe.[59]. Also in this movie, he sang the Beatles songs "I am the Walrus" and "Lucy in the Sky with Diamonds". Bono's other acting credits include cameos in 1999's Entropy and 2000's Million Dollar Hotel. In 2000 he acted as himself in the short film Sightings of Bono, adapted from a short story by Irish writer Gerard Beirne.


Humanitarian work

Bono has become one of the world's best-known philanthropic performers.[60][61] He has been dubbed, "the face of fusion philanthropy",[62] both for his success enlisting powerful allies from a diverse spectrum of leaders in government, religious institutions, philanthropic organizations, popular media, and the business world, as well as for spearheading new organizational networks binding global humanitarian relief with geopolitical activism and corporate commercial enterprise.[63]

In a 1986 interview with Rolling Stone magazine Bono explained that he was motivated to become involved in social and political causes by seeing one of the benefit shows staged by John Cleese and producer Martin Lewis for the human-rights organization Amnesty International in 1979.[64] In 2001 Bono arranged for U2 to videotape a special live performance for that year's Amnesty benefit show. Introducing the performance, Bono referred to The Secret Policeman's Ball as "a mysterious and extraordinary event that certainly changed my life..."

Bono and U2 performed on Amnesty's Conspiracy Of Hope tour of the United States in 1986 alongside Sting.[12] U2 also performed in the Band Aid and Live Aid projects, organized by Bob Geldof.[65] In 1984, Bono sang on the Band Aid single "Do They Know it's Christmas?/Feed the World" (a role that was reprised on the 2004 Band Aid 20 single of the same name).[66] Geldof and Bono later collaborated to organize the 2005 Live 8 project, where U2 also performed.[13]


Bono with President Lula da Silva of Brazil

Since 1999, Bono has become increasingly involved in campaigning for third-world debt relief and raising awareness of the plight of Africa, including the AIDS pandemic. In the past decade Bono has met with several influential politicians, including United States President George W. Bush and Canadian Prime Minister Paul Martin.[67] During a March 2002 visit to the White House, after President Bush unveiled a $5 billion aid package, he accompanied the President for a speech on the White House lawn. He stated, "This is an important first step, and a serious and impressive new level of commitment. ... This must happen urgently, because this is a crisis."[67] In May of that year, Bono took US Treasury Secretary Paul H. O'Neill on a four-country tour of Africa. In contrast, in 2005 Bono spoke on CBC Radio, alleging Prime Minister Martin was being slow about increasing Canada's foreign aid.[68]

Bono spoke in advance of President Bush at the 54th Annual National Prayer Breakfast, held at the Hilton Washington Hotel on 2 February 2006. In a speech peppered with biblical references, Bono encouraged the care of the socially and economically depressed. His comments included a call for an extra 1 percent tithe of the United States' national budget. He brought his Christian views into harmony with other faiths by noting that Christian, Jewish, and Muslim writings all call for the care of the widow, orphan, and stranger. President Bush received praise from the singer-activist for the United States' increase in aid for the African continent. Bono continued by saying much work is left to be done to be a part of God's ongoing purposes.[11]

The organization DATA (Debt, AIDS, Trade, Africa) was established in 2002 by Bono and Bobby Shriver, along with activists from the Jubilee 2000 Drop the Debt Campaign.[69] It is DATA's mission to eradicate poverty and HIV/AIDS in Africa.[69] DATA encourages Americans to contact senators and other legislators and elected officials to voice their opinions.[69]

In early 2005, Bono, his wife Ali Hewson, and New York-based Irish fashion designer Rogan Gregory launched the socially-conscious line EDUN in an attempt to shift the focus in Africa from aid to trade.[70] EDUN's goal is to use factories in Africa, South America, and India that provide fair wages to workers and practice good business ethics to create a business model that will encourage investment in developing nations.[71]

This work has not been without criticism. On 15 December 2005 Paul Theroux published an op-ed in the New York Times called The Rock Star's Burden (cf. Kipling's The White Man's Burden) criticizing such stars as Bono, Brad Pitt, and Angelina Jolie as "mythomaniacs, people who wish to convince the world of their worth." Theroux, who lived in Africa as a Peace Corps Volunteer, added that "the impression that Africa is fatally troubled and can be saved only by outside help ?- not to mention celebrities and charity concerts ?- is a destructive and misleading conceit."[72] Bono responded to his critics in Times Online on February 19, 2006, calling them "cranks carping from the sidelines. A lot of them wouldn't know what to do if they were on the field. They're the party who will always be in opposition so they'll never have to take responsibility for decisions because they know they'll never be able to implement them. "[73]

Bono was a special guest editor of the July 2007 issue of Vanity Fair magazine. The issue was named "The Africa Issue: Politics & Power" and featured an assortment of 20 different covers, with photographs by Annie Leibovitz, taken of a number of prominent celebrities, political leaders, and philanthropists, each one showcased in the issue for their contributions to the humanitarian relief in Africa.[74]

Further criticism came in November 2007, when Bono's various charity campaigns were targeted by Jobs Selasie, head of African Aid Action. Selasie claimed that these charities had increased corruption and dependency in Africa because they failed to work with African entrepreneurs and grassroots organizations, and as a result, Africa has become more dependent on international handouts.[75] That same month, however, Bono was honoured by NBC Nightly News as someone "making a difference" in the world.[76] He and anchor Brian Williams had traveled to Africa in May 2007 to showcase the humanitarian crisis on the continent.[77]

Product Red is another initiative begun by Bono and Bobby Shriver to raise money for the Global Fund to Fight AIDS, Tuberculosis, and Malaria.[78] Bobby Shriver has been announced as the CEO of Product Red, whilst Bono is currently an active public spokesperson for the brand. Product Red is a brand that is licensed to partner companies, such as American Express, Apple, Converse, Motorola, Microsoft, Dell, The Gap, and Giorgio Armani.[79] Each company creates a product with the Product Red logo and a percentage of the profits from the sale of these labelled products will go to the Global Fund.[80]


Recognition

Bono is the only person to have been nominated for an Academy Award, Golden Globe, Grammy, and Nobel Peace Prize.[81] Bono was a nominee for the Nobel Peace Prize in 2003, 2005, and 2006.[82][83][14]

In 2002, he was listed as one of the 100 Greatest Britons in a poll conducted among the general public.[84], despite the fact that he is an Irish national.

In 2004, Bono was awarded the Pablo Neruda International Presidential Medal of Honour from the Government of Chile.[85]

Time Magazine named Bono one of the "100 Most Influential People" in its May 2004 special issue,[86] and again in the 2006 Time 100 special issue.[87] In 2005, Time named Bono a Person of the Year along with Bill and Melinda Gates.[18]

Also in 2005, he received the Portuguese Order of Liberty for his humanitarian work.[88] That year Bono was also among the first three recipients of the TED Prize, which grants each winner "A wish to change the world"[89]. Bono made three wishes[90], the first two related to the ONE campaign and the third that every hospital, health clinic and school in Ethiopia should be connected to the Internet. TED rejected the third wish as being a sub-optimal way for TED to help Africa[90] and instead organized a TED conference in Arusha, Tanzania. Bono attended the conference, which was held in June 2007, and attracted headlines[91] with his foul-mouthed heckling of a speech by Andrew Mwenda.

In 2007, Bono was named in the United Kingdom's New Years Honours List as an honorary Knight Commander of the Order of the British Empire.[17][92] He was formally granted knighthood on 29 March 2007 in a ceremony at the residence of British Ambassador David Reddaway in Dublin, Ireland.[93]

Bono also received the NAACP Image Award's Chairman's Award in 2007.[94] On 24 May 2007, the National Constitution Center in Philadelphia announced that Bono would receive the Philadelphia Liberty Medal on September 27, 2007 for his work to end world poverty and hunger.[95] On 28 September 2007, in accepting the Liberty Medal, Bono said, "When you are trapped by poverty, you are not free. When trade laws prevent you from selling the food you grew, you are not free, ... When you are a monk in Burma this very week, barred from entering a temple because of your gospel of peace ... well, then none of us are truly free." Bono donated the $100,000 prize to the organization. Ngozi Okonjo-Iweala accepted the award for the Washington-based Debt AIDS Trade Africa. [96]

Nominated for the "Greatest Artist of the Modern Era" award by a group of his peers. He was recognized for his work with Band Aid, Live Aid, The KillJoy Papers for Change, and Project Red.
0 Replies
 
bobsmythhawk
 
  1  
Reply Sat 10 May, 2008 02:00 pm
Texan's guide to life


Never squat with yer spurs on.

There's two theories to arguin' with a woman; neither one works.

Don't worry about bitin' off more than you can chew, your mouth is probably a whole lot bigger'n you think.

If you get to thinkin' you're a person of some influence, try orderin' somebody else's dog around.

Never smack a man who's chewin' tobacco.

It don't take a genius to spot a goat in a flock of sheep.

Never ask a barber if he thinks you need a haircut.

Good judgment comes from experience, and a lot of that comes from bad judgment.

Always drink upstream from the herd.

If you're ridin' ahead of the herd, take a look back every now and then to make sure it's still there.

Lettin' the cat outta the bag is a whole lot easier 'n puttin' it back in.

Finally, never miss a good chance to shut up.
0 Replies
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 02:03 pm
http://www.youtube.com/watch?v=4tQqEQq1LbA

Tiomkin is one of my favorite movie composers. Here is something he did in The Alamo.
0 Replies
 
Victor Murphy
 
  1  
Reply Sat 10 May, 2008 02:15 pm
Letty wrote:
Victor, Welcome back, buddy. I had no idea that Bette did that one; a bugle may be a thing of the past because no one nowadays knows how to play one. Thanks for the memory.

No occasion in particular, folks, for the next one. It's simply because I love Gershwin.

http://www.youtube.com/watch?v=GYwYj3U_f18


Here is another video of Bette Midler singing the same song. She is dressed as a mermaid!
0 Replies
 
Letty
 
  1  
Reply Sat 10 May, 2008 03:39 pm
Sorry, all, I have been entertaining guests in the conference room of our studio.

Bob, thanks for the great bio's and the typical Texas humor.

edgar, I recognized The Green Leaves of Summer from that Alamo overture. Thanks for the revelation of Tiomkin's fantastic abilities.

Victor, I had no idea that Bette imitated the Andrew Sisters. Great videos, buddy, fish tails and all.

I think Patty Andrews is still alive, but not certain at this point. Here's an original by those sisters.

http://www.youtube.com/watch?v=nzlfcQ6E_RE&feature=related
0 Replies
 
edgarblythe
 
  1  
Reply Sat 10 May, 2008 04:02 pm
I love Bette and the Andrews Sisters. I love rum and coca cola. (not the drink)
0 Replies
 
Letty
 
  1  
Reply Sat 10 May, 2008 04:14 pm
edgar, I think more and more people are reanimating those performers of yesterday. They were GOOD and should be resurrected.

My sister told me that the Rum and Coca Cola song alluded to "ladies of the evening". (a euphemism, of course)

What do y'all think?

http://www.youtube.com/watch?v=vNQaS37X7_o
0 Replies
 
RexRed
 
  1  
Reply Sat 10 May, 2008 04:19 pm
Something Good


Perhaps I had a wicked childhood
Perhaps I had a miserable youth
But somwhere in my wicked, miserable past
There must have been a moment of truth

For here you are, standing there, loving me
Whether or not you should
So somewhere in my youth or childhood
I must have done something good

Nothing comes from nothing
Nothing ever could
So somewhere in my youth or childhood
I must have done something good

The Sound Of Music
0 Replies
 
djjd62
 
  1  
Reply Sat 10 May, 2008 04:30 pm
something from bono and the boys

U2 - Stay (Faraway, So Close!)
0 Replies
 
djjd62
 
  1  
Reply Sat 10 May, 2008 04:36 pm
U2 & Johnny Cash - The Wanderer
0 Replies
 
 

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WA2K Radio is now on the air, Part 3 - Discussion by edgarblythe
 
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