Ah, the flag decal. The only thing I have ever worn on my collar is "I Voted" and a buddy poppy.
Thanks all, for the great songs that make us aware of who and what we are.
I look around on our forum and everyone seems to be bashing someone.
Although Rockhead and I have never interacted, I hate that he felt compelled to hide. I hate that TTH is having problems as well. Sometimes when I feel down and out, I write poetry.
If everyone reads that book review, you will understand about mental illness and the ramifications thereof.
I love this song by Harry Belafonte and let's listen to that old lion sleep.
letty
Some mighty joke is at play, here. That video of The Lion Sleeps Tonight was recorded in the 50s. The group was The Tokens. Lead singer: Neil Sedaka.
I have never heard Belafonte sing that one, although he may have, at some point after the 60s, which is when most of his better albums quit coming, and I only got copies of a few.
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Letty
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Sat 17 May, 2008 06:46 pm
You're right, edgar. Perhaps the joke lies in the fact that google bought YouTube.
Here's another error that I made. I always thought that the song "My Buddy" had to do with the buddy system in WWII. You know, fighting for the buddy next to you in the fox holes?
Wrong again. It was written in 1922 by Gud Kahn, and the buddy poppy came from John Macrae's "In Flander's Fields."
Well, folks, we know Harry did this one, and I like it.
Time for me to say goodnight, folks, and I am certain that Victor knows this.
Big Brown cruises to another easy win in Preakness
By BETH HARRIS, AP Racing Writer 27 minutes ago
BALTIMORE - Not once but twice, jockey Kent Desormeaux sneaked a peak to see if anyone was gaining on Big Brown. "I looked between my legs, under my arms, and they were eight (lengths) behind me," Desormeaux said. "I stopped pushing. I said, `That's enough.'"
His big bay colt ran away with the Preakness on Saturday and now is pointed squarely down the path toward the Triple Crown.
I like that Les Miserables song. I have brought another offering by Belafonte. From the album, Paradise in Gazankulu, I believe it's called, Listen to the Man. Don't recall for certain.
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Letty
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Sun 18 May, 2008 03:10 am
Good morning, WA2K listeners and contributors.
edgar, That was a great song by Harry. I smile when I think of my music appreciation class. How in the world can a professor or a text book teach one to appreciate music? It comes with time and an open mind, I think.
Today, I shall begin with a quote from Shakespeare and follow up with a dream song, folks.
Fear no more the heat o' the sun,
Nor the furious winter's rages;
Thou thy worldly task hast done,
Home art gone, and ta'en thy wages;
Golden lads and girls all must,
As chimney-sweepers, come to dust.
Fear no more the frowns o' the great;
Thou art past the tyrant's stroke;
Care no more to clothe and eat;
To thee the reed is as the oak:
The sceptre, learning, physic, must
All follow this, and come to dust.
Fear no more the lightning-flash,
Nor the all-dreaded thunder-stone;
Fear not slander, censure rash;
Thou hast finished joy and moan:
All lovers young, all lovers must
Consign to thee, and come to dust.
No exorciser harm thee!
Nor no witchcraft charm thee!
Ghost unlaid forbear thee!
Nothng ill come near thee!
Quiet consummation have;
And renowned be thy grave!
William Shakespeare, from Cymbeline, Act IV, Scene II
The Italian bass Ezio Pinza (18 May 1892 - 9 May 1957) was one of the outstanding opera singers of the first half of the 20th century. He spent 22 seasons at New York's Metropolitan Opera, appearing in more than 750 performances of 50 operas. He also sang to great acclaim at La Scala, Milan, and at the Royal Opera House in London's Covent Garden.
Biography
Pinza was born in modest circumstances in Rome and grew up in Ravenna. He studied at Bologna's Conservatorio Martini. His operatic debut came in 1914 as Oroveso in Norma in Cremona.
After enduring four years of military service during World War I, Pinza appeared at Rome in 1919. He then sang at Italy's foremost opera house, La Scala, Milan, in February, 1922. At La Scala, under the direction of the brilliant and exacting conductor Arturo Toscanini, Pinza's career blossomed during the next few seasons. Pinza's Met debut occurred in November 1926 in Spontini's La Vestale, with the famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, as well as a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, as well as Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939 and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter.
Pinza sang again under the baton of Toscanini, this time with the New York Philharmonic Orchestra, as the bass soloist in 1935 performances of Beethoven's Missa Solemnis. One of these performances was broadcast and preserved on transcription discs; this recording has been issued on LPs and CDs.
Pinza's repertoire consisted of some 95 roles. He retired from the Met in 1948 and embarked on a second career on Broadway. In April 1949, he appeared in the Rodgers and Hammerstein musical South Pacific and his operatic, expressive performance of "Some Enchanted Evening" made him a matinee idol and a national celebrity. He also appeared in the Broadway production of Fanny in 1954, opposite Florence Henderson.
Shortly before his death, Pinza completed his memoirs, which were published in 1958 by Rinehart & Co., Inc. Photos of his career, as well as his family, were included in the book.[1]
Pinza died at age 64 in Stamford, Connecticut. His funeral was held at the Cathedral of St. John the Divine in New York City. He is interred at Putnam Cemetery, in Greenwich, Connecticut.
Being devoid of academic training, Pinza had been unable to sight-read a musical score. He would listen, however, to his part being played on the piano, and having heard it, he could sing it, such was the precision of his ear.
With regard to the lineage of great Italian basses, Pinza followed in the wake of Francesco Navarini and Vitorrio Arimondi, both of whom were at their peak prior to World War One, and Spanish-born Jose Mardones, who sang with the Boston and New York Met companies between 1909 and 1926. During the 1920s and '30s, Pinza was confronted with an additional challenge to his crown as the supreme Italian bass of the inter-war period from the likes of Fernando Autori, Nazzareno de Angelis, and Tancredi Pasero. What set Pinza apart from these three outstanding rivals, however, was the magnetism of his theatrical performances coupled with the sheer beauty of his voice.
Most music critics would agree that no subsequent Italian bass has been as impressive as Pinza, either as a vocalist or a performer. He cut a dashing figure on and off the stage and was particularly popular with female audiences. He appeared in several films, beginning with 1947's Carnegie Hall. This film featured a number of famous classical singers, musicians, conductors, and the New York Philharmonic Orchestra. He also can be seen in a few MGM movies (in Technicolor), including Mr. Imperium with Lana Turner and Strictly Dishonorable, both released in 1951. His final film appearance was as the famous Russian bass Feodor Chaliapin in the Technicolor film biography of impressario Sol Hurok, which was entiled Tonight We Sing (1953). During the course of this film, Pinza sang a portion of Mussorgsky's Boris Godunov in the original Russian.
Pinza hosted his own television program during 1951. In 1953, he appeared as the lead character Babbo Bonino, a retired opera singer, on the short-lived NBC series Bonino. He also made several live television appearances between 1951 and 1955.[2]
Pinza sang opposite many magnificent singers at the Met during his heyday. They included, among others, such international stars as Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett and Giuseppe De Luca.
Recordings
Pinza recorded extensively for HMV and the Victor Talking Machine Company in the 1920s and 1930s. These dics consist largely of individual operatic arias and some ensemble pieces (plus a complete Verdi Requiem conducted by Tullio Serafin). Pinza's recordings are prized by critics and general listeners alike, and are freely available on CD.
As late as 1953, Pinza was committing arias to disc, although his voice was now in obvious decline. Previously, in the mid-1940s, he had made a few 78-rpm albums for Columbia Records, which have been reissued on LP and CD. He occasionally recorded popular songs and was featured on Columbia's original cast recording of South Pacific with Mary Martin, released on both LP and 78-rpm discs; this recording has been digitally remastered from the original magnetic tape recording by Sony for release on CD. He was also a singer on RCA's original cast album of Fanny in 1954.[3]
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bobsmythhawk
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Sun 18 May, 2008 06:45 am
Meredith Willson
From Wikipedia, the free encyclopedia
Robert Meredith Willson (18 May 1902 - 15 June 1984) was an American composer, songwriter, conductor and playwright.
He is best known for writing the book, music, and lyrics for the hit musical The Music Man, which won the Tony Award for Best Musical in 1958. The cast recording of The Music Man won the first Grammy Award given for best cast album. Willson also is remembered for his work on films, the Burns and Allen radio program, among other radio shows, and was nominated for two Academy Awards
Early life
Born Robert Meredith Reiniger in Mason City, Iowa, Willson attended Frank Damrosch's Institute of Musical Art (later The Juilliard School) in New York City. A flute and piccolo player, Willson was a member of John Philip Sousa's band (1921-1923) and the New York Philharmonic Orchestra under Arturo Toscanini (1924-1929). Willson then moved to San Francisco, California as the concert director for KFRC, and then as a musical director for the NBC radio network in Hollywood.[1]
His work for films included writing the music for Charlie Chaplin's The Great Dictator (1940) and William Wyler's The Little Foxes (1941), both of which garnered him Academy Award nominations. During World War II, he worked for the United States' Armed Forces Radio Service. His work with the AFRS teamed him with George Burns, Gracie Allen and Bill Goodwin. He would work with all three as the bandleader, and a regular character, on the Burns and Allen radio program. He played a shy man, always trying to get advice on women. His character was dizzy as well, basically a male version of Gracie Allen.
Returning to network radio after WWII, he created the Talking People, a choral group that spoke in unison while delivering radio commercials. He also became the musical director for The Big Show, a respected comedy-variety program hosted by stage legend Tallulah Bankhead and featuring some of the world's most respected entertainers. Willson himself became part of one of the show's very few running gags, beginning replies to Bankhead's comments or questions with, "Well, sir, Miss Bankhead...." Willson wrote the song, "May The Good Lord Bless And Keep You" for the show. Tallulah spoke the lyrics over the music at the end of each show. For a few years in the early 1950s, Willson was a regular panelist on the Goodson-Todman game show "The Name's the Same."
Broadway shows
Willson's most famous work, The Music Man, premiered on Broadway in 1957 and was adapted twice for film (in 1962 and 2003). He referred to the show as "an Iowan's attempt to pay tribute to his home state." It took Willson some eight years and thirty revisions to complete the musical, for which he wrote more than forty songs. The cast recording of The Music Man won the first Grammy Award for Best Original Cast Album (Broadway or TV) ever issued.
His second musical, The Unsinkable Molly Brown, ran on Broadway for 532 performances from 1960 to 1962 and was made into a 1964 motion picture starring Debbie Reynolds. His third musical to reach Broadway was an adaptation of the film Miracle On 34th Street, called Here's Love (1963). His fourth, last, and least successful musical was 1491, which told the story of Columbus's attempts to finance his famous voyage. It was produced by the Los Angeles Civic Light Opera Association but never made it to Broadway.
Other work
His Symphony No. 1 In F Minor, A Symphony Of San Francisco, and Symphony No. 2 In E Minor, Missions Of California, were recorded in 1999 by William T. Stromberg conducting the Moscow State Symphony Orchestra.
Willson penned a number of very well-known songs, such as "Seventy-Six Trombones," "Gary Indiana," "It's Beginning To Look A Lot Like Christmas," "May the Good Lord Bless and Keep You" and "Till There Was You," which was a hit for the Beatles in 1963. He also wrote the University of Iowa's fight song and Iowa State University's "For I for S Forever". He honored The Salvation Army with a musical tribute entitled "Banners and Bonnets." He also wrote the fight song for his hometown high school "Mason City Go!"
Another oddity in Willson's body of work is "Chicken Fat." In the 1960s, this was the theme song in school gymnasiums across the nation as part of President John F. Kennedy's youth fitness program. It was time to get the country's youth into shape, and Willson's song had youngsters moving through basic exercises at a frenetic pace: push-ups, sit-ups, jumping jacks, torso twists, running in place, pogo springs, and plenty of marching. With an energetic lead vocal by Robert Preston, orchestral marching band, and full chorus, it was likely recorded during sessions for the Music Man motion picture.
In general, it was recognized that Willson wrote surprisingly well-crafted, complex, and subtle music that classical music fans could appreciate, with intricate and sometimes startling counterpoint, well-crafted melody, and subtle orchestration, all while still appealing to mass audiences.
Legacy
Willson wrote two autobiographies: "And There I Stood With My Piccolo" (1948) and "But He Doesn't Know the Territory" (1959).
Willson and his wife lived for years in the Mandeville Canyon section of Brentwood, California. In the 1960s, Willson was fondly remembered by friends and neighbors as a warm and gregarious host who loved nothing more than to play the piano and sing at parties. Willson often gave out autographed copies of his record album, Meredith Willson Sings Songs from The Music Man.
His alma mater, Juilliard, dedicated its first and only residence hall to Willson. He was a member of the National Honorary Band Fraternity, Kappa Kappa Psi.
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bobsmythhawk
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Sun 18 May, 2008 06:53 am
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bobsmythhawk
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Sun 18 May, 2008 06:58 am
Margot Fonteyn
From Wikipedia, the free encyclopedia
Dame Margot Fonteyn de Arias, DBE, (18 May 1919, Reigate, Surrey, United Kingdom - 21 February 1991, Panama City, Panama), the British prima ballerina assoluta, was considered by many to be the greatest English ballerina of her time.
Early life
Fonteyn was born Margaret ("Peggy") Hookham to an English father and an Irish mother, with Brazilian ancestry, who was the daughter of Brazilian businessman Antonio Fontes. Early in her career, Margaret transformed Fontes into Fonteyn (a surname her brother adopted as well) and Margaret into Margot; thus her stage name. Her mother signed her up for ballet classes with her brother when they were young. These classes helped her greatly on her road to becoming a prima ballerina.
She joined the Royal Ballet (then called the Sadler's Wells Theatre) while still a teenager, after having been trained by some of the greatest teachers of the day - Olga Preobrajenskaya and Mathilde Kschessinskaya, both of whom trained under Marius Petipa himself. By 1939, she was the company's star and the inspiration for many of Sir Frederick Ashton's ballets, such as Undine, Daphnis and Chloe, and Sylvia. She was especially renowned for her portrayal of Aurora in Tchaikovsky's Sleeping Beauty. Televised versions of Sleeping Beauty and Ashton's version of Cinderella are now available on DVD. Fonteyn also worked with the choreographer Roland Petit and later in life, Martha Graham. In 1949, the Royal Ballet toured the United States and Fonteyn became an instant celebrity.
Dancing with Rudolf Nureyev and others
In the 1940s, she and Robert Helpmann formed a very successful dance partnership, and they toured together for several years. In the 1950s, she danced with Michael Somes. But her greatest partnership emerged at a time when many (including the head of the Royal Ballet, Ninette de Valois) thought she was about to retire. In 1961, Rudolf Nureyev defected to the West, and on February 21, 1962, he and Fonteyn first appeared on stage together, in a performance of Giselle. It was a great success; during the curtain calls Nureyev dropped to his knees and kissed Fonteyn's hand, cementing an on-and-offstage partnership which lasted until her 1979 retirement. Fonteyn and Nureyev became known for inspiring repeated frenzied curtain calls and bouquet tosses.
Ashton choreographed Marguerite and Armand for them, which no other couple danced until the 21st century. They debuted Kenneth MacMillan's Romeo and Juliet, although MacMillan had conceived the ballet for Lynn Seymour and Christopher Gable. Fonteyn and Nureyev appeared together in a film version of Swan Lake and Kenneth MacMillan's Romeo and Juliet, as well as Les Sylphides and the Le Corsaire Pas de Deux.
Despite their differences in background, temperament, and a nineteen-year difference in age, Nureyev and Fonteyn became close lifelong friends and were famously loyal to each other. Fonteyn would not approve an unflattering photograph of Nureyev. In 1967, they were arrested after a performance in San Francisco, when the police raided a Haight-Ashbury party to which they had been invited. They remained close even after she retired to a Panama cattle farm, talking on the phone several times a week even though her farmhouse did not have a telephone. When she was treated for cancer, Nureyev paid many of her medical bills and visited her often, despite his busy schedule as a performer and choreographer, as well as his own health problems (he was HIV positive and succumbed to AIDS in 1993). In a documentary about Fonteyn, Nureyev said that they danced with "one body, one soul" and that Margot was "all he had, only her." An observer said that "If most people are at level A, they were at level Z."
In the extremely competitive world of ballet, Fonteyn was renowned for her consummate professionalism and loyalty to her friends. Her dancing stood out for its lyricism, grace, and passion. Although Fonteyn was the Royal Ballet's biggest star, its director, Dame Ninette de Valois, cultivated other talents, so that the Royal Ballet of Fonteyn's day also included Nadia Nerina, Svetlana Beriosova, Lynn Seymour, and Antoinette Sibley.
Relationships
During the 1940s, Fonteyn had a long relationship with composer Constant Lambert which did not lead to marriage. In 1955, Fonteyn married Dr. Roberto Arias, a Panamanian diplomat to London and playboy. Their marriage was initially a rocky one due to his infidelities. She was arrested when he attempted a coup against the Panamanian government. In 1965, a rival Panamanian politician shot Arias, leaving him a quadriplegic for the rest of his life.
The cost of his medical care is a reason why Fonteyn's career lasted until 1979, her sixtieth year, despite her suffering from an arthritic foot. Upon her retirement, the Royal Ballet honoured her with the title prima ballerina assoluta. She ended her days in Panama, remaining loyal to Arias in part because she was very devoted to his children from an earlier marriage. Because Arias's medical bills drained her finances, the Royal Ballet held a special "gala" in 1990 for her benefit. Shortly after his death, she was diagnosed with a cancer that proved fatal.
Legacy
Fonteyn was awarded a DBE (made a dame) in 1954 at the age of 35.
She was chancellor of the University of Durham from 1981 to 1990. The main hall in Dunelm House, the Student Union building, is named the Fonteyn Ballroom in her honour.
There is a school dedicated to Margot Fonteyn that bears her name. The Margot Fonteyn Academy is located just north of New York City (Peekskill) and was founded by her close friend Ken Ludden who teaches the classical style of ballet favored by Dame Margot.
Fonteyn envisioned an international fine arts institution in which all of the arts would be studied under one roof. Her belief was that young artists of divergent fields of expression would enter into conversations about the core issues of art (expression, interpretation, focus, et cetera), and would consequently develop a deeper understanding of the artistic purpose of their endeavors. She and Ludden worked together to develop this concept for the last twelve years of her life.
"I do think it would be good to have artists studying side by side in the different disciplines instead of each group isolated in its own world....the objective would be to produce professional artists integrated from their school days with exponents of the sister arts. Many benefits would ensue, especially for ballet itself which is a composite of the four arts. The ideal would be Music, Dancing, (principally ballet and ballet related dancing), Painting and Drama. Those four are the basic elements of theatre." --Dame Margot Fonteyn d'Arias (from correspondence with Ludden)
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bobsmythhawk
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Sun 18 May, 2008 07:00 am
Pernell Roberts
From Wikipedia, the free encyclopedia
Born Pernell Elvin Roberts
May 18, 1928 (1928-05-18) (age 80)
Waycross, Georgia
U.S.
Years active 1958-1997
Spouse(s) Vera Mowry (1951-),
Judith Anna LeBreque (1962-1971),
Kara Knack (1972-1996)
Pernell Elvin Roberts (born May 18, 1928 in Waycross, Georgia) is an American television actor and singer. He's better known for his roles as Ben Cartwright's eldest son, Adam Cartwright, on Bonanza (a role he played from 1959 to 1965), and as chief surgeon, Dr. Trapper John MacIntyre, the title character on Trapper John, M.D. He is also known for his activism, which included participation in the Selma to Montgomery marches in 1965, and pressuring NBC to refrain from hiring Caucasians to portray minority characters.
He began his acting career in off-Broadway and Broadway theatre in New York City.
Bonanza
He came to prominence playing Adam, Ben Cartwright's urbane eldest son, in the TV series Bonanza. Despite the show's success and his own popularity, he left the series after the sixth season in 1965 due to disagreements with the writers and a desire to return to the stage to perform legitimate theatre. Among other complaints, Roberts argued that a 34-year-old educated, Eastern-born Adam would not be calling his father "Pa". The writers tacitly agreed not to exceed three "Pa" references per episode. According to producer David Dortort in the February 2006 "Bonanza Gold" issue, Roberts wanted to quit wearing his toupee. Since, in real life, there were fewer than thirteen years of age between Roberts and Lorne Greene, the bald Adam would not translate well on screen. "Bonanza" continued without Roberts for another eight seasons.
After Bonanza
Roberts continued to do guest shots on TV shows such as, The Big Valley, Mission: Impossible, The Wild Wild West, Gunsmoke, Mannix, The Odd Couple, and Hawaii Five-O. Roberts' rich baritone voice was displayed when he played Jigger in the ABC Television presentation of Carousel and Rhett Butler in the Los Angeles production of Scarlett. He regained star status in the early 1980s when he starred in the long-running television series Trapper John, M.D. (1979-86). Roberts played the character almost twice as long as Wayne Rogers played him on the CBS M*A*S*H series (1971-1975). In 1988, he co-starred with Milla Jovovich in the TV movie, The Night Train to Kathmandu. A guest appearance by Roberts as Hezekiah Horn in the Young Riders episode "Requiem for a Hero", won a Western Heritage Award in 1991.[1]
He hosted FBI: The Untold Stories in 1991 and is now retired, the lone surviving original cast member of "Bonanza." Roberts made his last TV appearance (to date) on a 2001 Diagnosis Murder, updating a Mannix character he had performed decades before.
In the 1980s and '90s, playing off his Trapper John M.D. persona, Roberts was a TV spokesman for Ecotrin, a brand of analgesic tablets.
Personal life
Roberts married three times. His first marriage was to Vera Mowry in 1951 with whom he had his only child (Jonathan Christopher Roberts); they later separated and divorced.[2] He later married Judith Anna LeBreque on October 15, 1962[3]; they divorced in 1971. His last marriage was to Kara Knack, whom he married in 1972; they divorced in 1996.
Roberts' only child, Jonathan Christopher Roberts, died in a motorcycle accident at 38 years of age. (b.1951 - d.1989)
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bobsmythhawk
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Sun 18 May, 2008 07:03 am
Robert Morse
From Wikipedia, the free encyclopedia
Born May 18, 1931 (1931-05-18) (age 77)
Newton, Massachusetts
Years active 1954 - present
Spouse(s) Carol Ann D Andreá (1961-1981)
Elizabeth Roberts (1989-present)
Awards won
Emmy Awards
Outstanding Lead Actor - Miniseries or a Movie
1993 Tru
Tony Awards
Best Leading Actor in a Musical
1962 How to Succeed in Business Without Really Trying
Best Leading Actor in a Play
1990 Tru
Robert Morse (born May 18, 1931, Newton, Massachusetts) is an American actor. Morse is best known for his appearances in musicals and plays on Broadway, and has also acted in movies and TV shows. He served in the US Navy during the Korean War.
Biography
Morse created the role of Barnaby in The Matchmaker on Broadway in 1955 opposite Ruth Gordon and reprised the role in the 1958 film adaptation, this time opposite Shirley Booth. That same year he won the Theatre World Award and was nominated for the Tony Award for Best Featured Actor in a Play for Say, Darling. His performance as J. Pierpont Finch in How to Succeed in Business Without Really Trying won him the Tony. He also starred in the 1967 movie version.
In 1965 Morse appeared in the black comedy The Loved One, a movie based on the Evelyn Waugh novel that satirized the funeral business in Los Angeles, in particular the Forest Lawn Cemetery. In 1968 he appeared in the comedy Where Were You When the Lights Went Out? opposite Doris Day. In the same year, he appeared in the television series That's Life, which attempted to blend the musical genre with a situation comedy centered on newlyweds "Robert" and "Gloria" (played by E.J. Peaker). [1]
Morse was in the original Broadway cast of Sugar, a 1972 musical stage adaptation of Some Like It Hot, for which he was nominated for another Tony. He won a Tony for Best Actor in Play and the Drama Desk Award for Outstanding One Person Show/Solo Performance for his portrayal of Truman Capote in Tru (1989). In 1992 he recreated his performance for the PBS series American Playhouse and won the Emmy Award as Best Actor in a Miniseries or Special. In 2002 Morse was cast in the role of The Wizard in the San Francisco run of the musical Wicked, but was replaced by Joel Grey when it opened on Broadway.
Morse joined other performers, including Marlo Thomas, in creating the 1972 Free to Be... You and Me children's album.
Morse has appeared in numerous TV shows, beginning in 1955 with the soap opera The Secret Storm and including mysteries, comedies, and variety shows. He had featured roles in the 1993 miniseries Wild Palms and the 2000 medical drama City of Angels. In 2007 Morse appeared on the AMC series Mad Men as Bertram Cooper, a partner in the advertising agency Sterling Cooper.
Morse has been married three times and has five children.
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bobsmythhawk
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Sun 18 May, 2008 07:06 am
The English Language
Have you ever wondered why foreigners have trouble with the English Language?
Let's face it
English is a stupid language.
There is no egg in the eggplant
No ham in the hamburger
And neither pine nor apple in the pineapple.
English muffins were not invented in England
French fries were not invented in France.
We sometimes take English for granted
But if we examine its paradoxes we find that
Quicksand takes you down slowly
Boxing rings are square
And a guinea pig is neither from Guinea nor is it a pig.
If writers write, how come fingers don't fing.
If the plural of tooth is teeth
Shouldn't the plural of phone booth be phone beeth
If the teacher taught,
Why didn't the preacher praught.
If a vegetarian eats vegetables
What the heck does a humanitarian eat!?
Why do people recite at a play
Yet play at a recital?
Park on driveways and
Drive on parkways
You have to marvel at the unique lunacy
Of a language where a house can burn up as
It burns down
And in which you fill in a form
By filling it out
And a bell is only heard once it goes!
English was invented by people, not computers
And it reflects the creativity of the human race
(Which of course isn't a race at all)
That is why
When the stars are out they are visible
But when the lights are out they are invisible
And why it is that when I wind up my watch
It starts
But when I wind up this observation,
It ends.
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Letty
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Sun 18 May, 2008 09:35 am
Thanks, Bob, for the bio's and the observation about the English language.
Thanks, Victor. That was on the album also. In an episode of Bonanza, he had the unenviable task of teaching Vaughn Monroe to sing. Monroe just couldn't get it right, until at the very end.
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Letty
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Sun 18 May, 2008 10:59 am
I found that song as well, Victor, and I had no idea that Pernell could sing so well. I do recall that Michael Landon died of pancreatic cancer and it was so depressing since that is what my friend Bill succumbed to.
What a surprise to find this tribute to Pernell Roberts from Billy Joel. Wow!
Ezio Pinza, Meredith Willson, Perry Como; Margot Fonteyn, Pernell Roberts and Robert Morse.
Love Ezio's "Some Enchanted Evening", but I'm choosing this one from Youtube that I never heard Ezio sing before. First time I heard the song was in Disney's "The Three Caballeros" and have loved it ever since. Too bad the video's so dark.
I'm off to watch the Pittsburgh Penguins play (TV) for the Stanley Cup.
Have a great day.
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Letty
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Sun 18 May, 2008 01:09 pm
Wow, Raggedy. I knew that penguins could dance, but I didn't know that they could play tennis.
Thanks, PA, for the wonderful montage.
Well, folks, our puppy scampered off so fast she forgot to leave the song by Ezio.
