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WA2K Radio is now on the air

 
 
Ragman
 
  1  
Reply Mon 16 Jun, 2008 08:18 am
bobsmythhawk: Re Stan Laurel. Those were some amazingly funny quotes re his own passing and also from Buster Keaton, etc. Thanks ever so much.
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 08:53 am
I agree, Ragman.

Hey, BioBob, thanks for the background of the famous folks, and I loved your funny about the common tater.

Ragman, also listened to Leon Russell, who I really like, and Karen Carpenter. Dear Karen is another example of how "fame" can be a handicap. Someone just observed in passing, that Ken's sister was pudgy. That led to her anorexia nervosa which eventually led to her death.

The following video is another example of how history can over glorify certain ethnic cultures.

http://www.youtube.com/watch?v=kq-brWIb12g&feature=related
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 09:49 am
Strange how much Poe's "Masque of the Red Death" is like Leon's song.

http://www.youtube.com/watch?v=6-a_5JdyLhg

Bud always supported the jazz ballad with the same observation.

"I'm afraid the masquerade is over; and so is love, and so is love."

Will try to find that one as we love to run the gamut of music on our wee radio station.
0 Replies
 
Ragman
 
  1  
Reply Mon 16 Jun, 2008 11:01 am
Letty wrote:
Strange how much Poe's "Masque of the Red Death" is like Leon's song.

http://www.youtube.com/watch?v=6-a_5JdyLhg

Bud always supported the jazz ballad with the same observation.

"I'm afraid the masquerade is over; and so is love, and so is love."

Will try to find that one as we love to run the gamut of music on our wee radio station.


I found those lyrics, and all the people who recorded the song:

(I'M AFRAID) THE MASQUERADE IS OVER aka THE MASQUERADE IS OVER
(Herb Magidson / Allie Wruble)

Jimmy Dorsey & His Orch. (vocal: Bob Eberly) - 1939
Larry Clinton & His Orch. (vocal: Bea Wain) - 1939
Leslie "Hutch" Hutchinson - 1939
Horace Heidt & His Orch. - 1939
Dick Jurgens & His Orch. - 1939
Glenn Miller & His Orch. - 1939
Sarah Vaughan - 1956
Helen Merrill - 1956
Dakota Staton - 1960
Nancy Wilson & Cannonball Adderley - 1961
Marvin Gaye - 1961
The Three Sounds - 1961
Etta Jones - 1962
Stevie Wonder - 1963
Al Jarreau - 1965
Silvia Syms - 1965
Billy Preston - 1965
Anita Kerr Singers - 1965
José Feliciano - 1966
Aretha Franklin - 1974

Also recorded by :
Buddy Greco; The Moonglows; Carmen McRae; Etta James;
Big Maybelle; George Benson; Pat Bowie; The Harptones;
Dave Brubeck; Paul Bryant; Lodi Carr; Steve Wilkerson;
Kate Ceberano & Her Septet; Sonny Criss; Jesse Davis;
Denny Dennis; Lou Donaldson; Eliane Elias; Ray Brown;
The Five Satins; Jimmy Witherspoon; Hollywood Flames;
The Four Tops; Sonny Stitt; P. J. Proby; Debra Holly;
Vince Jones; The Platters; Abby Lincoln; Milt Jackson;
Ivory Joe Hunter; Javon Jackson; Ruby Blue; Patti Page;
Betty Joplin; Trudy Kerr; Doug Lawrence; Mike Wheeler;
Johnny O'Neal; Denise Perrier; Linda Purl; Ike Quebec;
Ann Richards; Kim Richmond; Jan Savitt; Titus Turner;
Little Jimmy Scott; George Shearing; The Cleftones;
Titus Turner; Dan Wall; Mort Weiss; James Williams;
Ruby & The Romantics; ............. and many others.


My blue horizon is turning grey
And my dreams are drifting away

Your eyes don't shine like they used to shine
And the thrill is gone when your lips meet mine
I'm afraid the masquerade is over
And so is love, and so is love

Your words don't mean what they used to mean
They were once inspired, now they're just routine
I'm afraid the masquerade is over
And so is love, and so is love

I guess I'll have to play Pagliacci
And get myself a clown's disguise
And learn to laugh like Pagliacci
With tears in my eyes

You look the same, you're a lot the same
But my heart says "no, no, you're not the same"
I'm afraid the masquerade is over
And so is love, and so is love

(Instrumental Interlude)

I guess I'll have to play Pagliacci
And get myself a clown's disguise
And learn to laugh like Pagliacci
With tears in my eyes

You look the same, you're a lot the same
But my heart says "No, no, you're not the same"
I'm afraid the masquerade is over
And so is love, and so is love."
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 11:05 am
Marvelous, Ragman, and I found the jazz instrumental version. Back later to play that one for our listeners. Didn't have any idea that so many people recorded it. Thanks, buddy.
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 11:14 am
Here it is, everyone, and please note the improvisations and introduction of other melodies into the song that is so typical of cool jazz.

http://www.youtube.com/watch?v=ebNfeh8khys
0 Replies
 
Raggedyaggie
 
  1  
Reply Mon 16 Jun, 2008 03:05 pm
Here's to Stan

http://uk.geocities.com/laurel_hardy_tribute/Stan_Laurel.jpg

and

Geronimo

http://www.foxnews.com/images/294280/1_21_geronimo.jpg


Never got into jazz, Letty, but am enjoying listening to it at WA2K. Smile
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 04:19 pm
Hey, Raggedy. Well, PA, sometimes we call this the discovery channel of our radio. Thanks, for the faded duo. Tried finding a suitable tribute to Stan and Oliver, but no could do.

Here's a discovery that I made that I have been searching for FOREVER. Can't wait to tell my sister about 2. Razz

Everyone likes Gershwin, so.....

http://www.youtube.com/watch?v=li9XGprAZtA
0 Replies
 
hamburger
 
  1  
Reply Mon 16 Jun, 2008 05:46 pm
having just posted the picture ... here is the music to go with it

memories - didn't have a TV at that time , so we'd visit with friends for an evening for some BLACK + WHITE entertainment

http://www.youtube.com/watch?v=DjouKkpR3MU
0 Replies
 
edgarblythe
 
  1  
Reply Mon 16 Jun, 2008 07:27 pm
http://www.youtube.com/watch?v=kmmRnROmTU4

I have always liked Don Cherry's records.
0 Replies
 
Letty
 
  1  
Reply Mon 16 Jun, 2008 07:40 pm
Wundebar, hbg. I am so glad that they listed all the songs that Mr. Welk and his assistant played. I don't know why, but I know Stumbling. The other two, of course, were quite familiar.

edgar, Don Cherry's "Band of gold" and his book called "It's Magic" were exactly what our cyber station needed to get alerts. Amazing, y'all. (I love cherrys jubilee, incidentally. The master chef at the Greenbrier Hotel made a big deal out of it )

Well, time for me to say goodnight, and I found a great sleepy song to play. It has not been a good day, I'm afraid. Perhaps tomorrow will be better.

http://www.youtube.com/watch?v=dlZKW3ZIa8U

As always,

From Letty with love
0 Replies
 
edgarblythe
 
  1  
Reply Mon 16 Jun, 2008 07:47 pm
http://www.youtube.com/watch?v=R8qF11GnP6M

Good night, letty.
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Raggedyaggie
 
  1  
Reply Mon 16 Jun, 2008 08:53 pm
Letty wrote:
Welcome back RH. Loved that trio, buddy. Great country stars. The title also reminds me of a wonderful poem by Alfred Noyes called "The HighwayMAN".

My word, edgar. Tomorrow is your red letter day. Dolly Parton seems to be the favorite of working and non working folks. Our Urs played that when she returned to work after her surgery. Also loved the Chubby Checker song. Updated Fats Domino with that moniker.

Time for me to say goodnight, and I think it was our Raggedy that reminded us that my goodnight song came from the movie, Jack Black starring Brad Pitt. If I got it wrong, I'm certain that she will edit that for us.

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

Goodnight, everyone

From Letty with love



Just saw the above, Letty. "Let's Face the Music and Dance" was played in "Meet Joe Black", but I'll be darned if I remember telling you that. Laughing Fred Astaire and Ginger Rogers sang and danced to it in "Follow the Fleet" a long, long time ago.
0 Replies
 
yitwail
 
  1  
Reply Mon 16 Jun, 2008 11:57 pm
edgarblythe wrote:
http://www.youtube.com/watch?v=kmmRnROmTU4

I have always liked Don Cherry's records.


when i saw this, i thought, really? turns out there's more than one musical cherry :wink:

Ornette Coleman/Don Cherry/Charlie Haden/Billy Higgins
0 Replies
 
Letty
 
  1  
Reply Tue 17 Jun, 2008 03:54 am
Good morning, WA2K folks.

edgar, thanks for the goodnight song. "Sleepy Time Gal" must have worked, because I did get some rest last evening.

Raggedy, I did apologize for getting Jack Black confused with "Meet Jo Black", I watched that movie some time back and recall it was a remake of several "...one short sleep passed, and death thou shalt die.." Glad that Brad got a chance to be alive again. (not certain that I got the exact quote correct)

Hey, honu/M.D. Where have you been? I know that jazz man. Do believe that he is playing a flugelhorn. Thanks, big island man.

Well, folks, today is Barry Manilow's birthday, and this is a great video saluting all the famous couples including Jenny. Razz

http://www.youtube.com/watch?v=btiSh_Ug0dw
0 Replies
 
bobsmythhawk
 
  1  
Reply Tue 17 Jun, 2008 08:40 am
Charles Gounod
From Wikipedia, the free encyclopedia


Charles-François Gounod (June 17[1], 1818 - October 18[2], 1893) was a French composer, best known for his Ave Maria as well as his operas Faust and Roméo et Juliette.





Biography

Gounod was born in Paris, the son of a pianist mother and a draftsman father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire where he studied under Fromental Halévy.


He won the Prix de Rome in 1839 for his cantata Ferdinand.

He subsequently went to Italy where he studied the music of Palestrina. He concentrated on religious music of the sixteenth century.

Gounod eventually returned to Paris and composed the "Messe Solennelle", also known as the "Saint Cecilia Mass". This work was first performed in London during 1851 and began his reputation as a noteworthy composer.

He wrote two symphonies in 1855. His Symphony No.1 in D major was the inspiration for the Symphony No. 1 in C, composed later that same year by Georges Bizet, who was then Gounod's 17 year old student. Despite their charm and brilliance, Gounod's symphonies are seldom performed. One of the few recordings of the symphonies was one made by Sir Neville Marriner with the Academy of St. Martin in the Fields for Philips Records.

Gounod wrote his first opera, Sapho, in 1851, but had no great success until Faust (1859), based on the play by Goethe. This remains his best-known work. The romantic and highly melodious Roméo et Juliette (based on the Shakespeare play), premiered in 1867, is also performed and recorded regularly. The charming and highly individual Mireille of 1864 is admired by connoisseurs.

There is some controversy surrounding "Faust". Many critics believed it was a far advancement over Gounod's prior works. One critic stated his doubt that Gounod composed it, which prompted Gounod to challenge the critic to a duel. The critic withdrew his statement.[citation needed]

From 1870 to 1875 Gounod lived in England, becoming the first conductor of what is now the Royal Choral Society. Much of Gounod's music from this time is vocal or choral in nature.

Fanny Mendelssohn introduced the keyboard music of J.S. Bach to Gounod, who came to worship the composer as a god. For him, The Well-Tempered Clavier was "the law to pianoforte study ... the unquestioned textbook of musical composition".

Later in his life, Gounod returned to his early religious impulses, writing much religious music. These included an improvisation of a melody over the C major Prelude (BWV 846) from The Well-Tempered Clavier, to which Gounod set the words of Ave Maria, a setting that became world-famous.[3]. He also wrote Inno e Marcia Pontificale, now the official national anthem of the Vatican City.

He died in 1893 in Saint-Cloud, France, as he put the finishing touches to a requiem "Le Grand Requiem" inspired by the death of his grandson, a major work which he was never to hear performed.

One of his short pieces, Funeral March for a Marionette, became well known as the theme to Alfred Hitchcock Presents.
0 Replies
 
bobsmythhawk
 
  1  
Reply Tue 17 Jun, 2008 08:47 am
Igor Stravinsky
From Wikipedia, the free encyclopedia


Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, Igor' Fjodorovič Stravinskij) (June 17, 1882 - April 6, 1971) was a Russian composer, considered by many in both the West and his native land to be the most influential composer of 20th century music.[1] He was a quintessentially cosmopolitan Russian who was named by Time magazine as one of the 100 most influential people of the century.[2] In addition to the recognition he received for his compositions, he also achieved fame as a pianist and a conductor, often at the premières of his works.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and performed by Diaghilev's Ballets Russes (Russian Ballets): L'Oiseau de feu ("The Firebird") (1910), Petrushka (1911/1947), and Le Sacre du printemps ("The Rite of Spring") (1913). The Rite, whose première provoked a riot, transformed the way in which subsequent composers thought about rhythmic structure; to this day its vision of pagan rituals, enacted in an imaginary ancient Russia continues to dazzle and overwhelm audiences.

After this first Russian phase Stravinsky turned to neoclassicism in the 1920s. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J.S. Bach, Verdi, and Tchaikovsky.

In the 1950s he adopted serial procedures, using the new techniques over the final twenty years of his life to write works that were briefer and of greater rhythmic, harmonic, and textural complexity than his earlier music. Their intricacy notwithstanding, these pieces share traits with all of Stravinsky's earlier output; rhythmic energy, the construction of extended melodic ideas out of a few cells comprising only two or three notes, and clarity of form, instrumentation, and of utterance.

He also published a number of books throughout his career, almost always with the aid of a collaborator, sometimes uncredited. In his 1936 autobiography, Chronicles of My Life, written with the help of Alexis Roland-Manuel, Stravinsky included his infamous statement that "music is, by its very nature, essentially powerless to express anything at all."[3] With Roland-Manuel and Pierre Souvtchinsky he wrote his 1939-40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and later collected under the title Poétique musicale in 1942 (translated in 1947 as Poetics of Music).[4] Several interviews in which the composer spoke to Robert Craft were published as Conversations with Igor Stravinsky[5] They collaborated on five further volumes over the following decade.





Biography

Russia

Stravinsky was born in Oranienbaum (renamed Lomonosov in 1948), Russia and brought up in Saint Petersburg. His childhood, he recalled in his autobiography, was troubled: "I never came across anyone who had any real affection for me."[6] His father, Fyodor Stravinsky, was a bass singer at the Mariinsky Theater in Saint Petersburg,[7] and the young Stravinsky began piano lessons and later studied music theory and attempted some composition. In 1890, Stravinsky saw a performance of Tchaikovsky's ballet The Sleeping Beauty at the Mariinsky Theater; the performance, his first exposure to an orchestra, mesmerized him.[8] At fourteen, he had mastered Mendelssohn's Piano Concerto in G minor, and the next year, he finished a piano reduction of one of Alexander Glazunov's string quartets.[9]

Despite his enthusiasm for music, his parents expected him to become a lawyer. Stravinsky enrolled to study law at the University of Saint Petersburg in 1901, but was ill-suited for it, attending fewer than fifty class sessions in four years.[10] After the death of his father in 1902, he had already begun spending more time on his musical studies. Because of the closure of the university in the spring of 1905, in the aftermath of Bloody Sunday, Stravinsky was prevented from taking his law finals, and received only a half-course diploma, in April 1906.[11] Thereafter, he concentrated on music. On the advice of Nikolai Rimsky-Korsakov, probably the leading Russian composer of the time, he decided not to enter the Saint Petersburg Conservatoire; instead, in 1905, he began to take twice-weekly private tutelage from Rimsky-Korsakov, who became like a second father to him.[12]

In 1905 he was betrothed to his cousin Katerina Nossenko, whom he had known since early childhood. They were married on 23 January 1906, and their first two children, Fyodor and Ludmilla, were born in 1907 and 1908 respectively.

In 1909, his Feu d'artifice (Fireworks), was performed in Saint Petersburg, where it was heard by Sergei Diaghilev, the director of the Ballets Russes in Paris. Diaghilev was sufficiently impressed to commission Stravinsky to carry out some orchestrations, and then to compose a full-length ballet score, L'Oiseau de feu (The Firebird).


Switzerland

Stravinsky travelled to Paris in 1910 to attend the premiere of The Firebird. His family soon joined him, and decided to remain in the West for a time. He moved to Switzerland, where he lived until 1920 in Clarens and Lausanne. During this time he composed three further works for the Ballets Russes?-Petrushka (1911), written in Lausanne, and Le Sacre du printemps (The Rite of Spring) (1913) and Pulcinella, both written in Clarens.

While the Stravinskys were in Switzerland, their second son, Soulima (who later became a minor composer), was born in 1910; and their second daughter, Maria Milena, was born in 1913. During this last pregnancy, Katerina was found to have tuberculosis, and she was placed in a Swiss sanatorium for her confinement. After a brief return to Russia in July 1914 to collect research materials for Les Noces, Stravinsky left his homeland and returned to Switzerland just before the outbreak of World War I brought about the closure of the borders. He was not to return to Russia for nearly fifty years. Stravinsky was one of the few Eastern Orthodox or Russian Orthodox community representatives living in Switzerland at that time and is still remembered as such in Switzerland to date.[13]


France

He moved to France in 1920, where he formed a business and musical relationship with the French piano manufacturer Pleyel. Essentially, Pleyel acted as his agent in collecting mechanical royalties for his works, and in return provided him with a monthly income and a studio space in which to work and to entertain friends and business acquaintances. He also arranged, one might say re-composed, many of his early works for the Pleyela, Pleyel's brand of player piano, in a way that makes full use of the piano's 88 notes, without regard for the number or span of human fingers and hands. These were not recorded rolls, but were instead marked up from a combination of manuscript fragments and handwritten notes by the French musician, Jacques Larmanjat, who was the musical director of Pleyel's roll department. Stravinsky later claimed that his intention had been to give listeners a definitive version of the performances of his music, but since the rolls were not recordings, it is difficult to see how effective this intention could have been in practice. While many of these works are now part of the standard repertoire, at the time many orchestras found his music beyond their capabilities and unfathomable. Major compositions issued on Pleyela piano rolls include The Rite of Spring, Petrushka, Firebird, Les Noces and Song of the Nightingale. During the 1920s he also recorded Duo-Art rolls for the Aeolian Company in both London and New York, not all of which survive.[14]

After a short stay near Paris, he moved with his family to the south of France; he returned to Paris in 1934, to live at the rue Faubourg St.-Honoré. Stravinsky later remembered this as his last and unhappiest European address; his wife's tuberculosis infected his eldest daughter Ludmila, and Stravinsky himself. Ludmila died in 1938, Katerina in the following year. While Stravinsky was in hospital, where he was treated for five months, his mother also died. Stravinsky already had contacts in the United States; he was working on the Symphony in C for the Chicago Symphony Orchestra, and had agreed to lecture in Harvard during the academic year of 1939-40. When World War II broke out in September, he set out for the United States.

Although his marriage to Katerina endured for 33 years, the true love of his life, and later his partner until his death, was his second wife Vera de Bosset (1888-1982). When Stravinsky met Vera in Paris in February 1921, she was married to the painter and stage designer Serge Sudeikin, but they soon began an affair which led to her leaving her husband. From then until Katerina's death from cancer in 1939, Stravinsky led a double life, spending some of his time with his first family and the rest with Vera. Katerina soon learned of the relationship and accepted it as inevitable and permanent. Around this time both left France for the USA, to escape World War II (Stravinsky in 1939 after Katerina's death, Vera following in 1940). Stravinsky and Vera were married in Bedford, MA, USA, on 9 March 1940.


America

At first Stravinsky took up residence in Hollywood, but he moved to New York in 1969. He continued to live in the United States until his death in 1971; he became a naturalized citizen in 1945. Stravinsky had adapted to life in France, but moving to America at the age of 58 was a very different prospect. For a time, he preserved a ring of emigré Russian friends and contacts, but eventually found that this did not sustain his intellectual and professional life. He was drawn to the growing cultural life of Los Angeles, especially during World War II, when so many writers, musicians, composers, and conductors settled in the area; these included Otto Klemperer, Thomas Mann, Franz Werfel, George Balanchine and Arthur Rubinstein. He lived fairly near to Arnold Schoenberg, though he did not have a close relationship with him. Bernard Holland notes that he was especially fond of British writers who often visited him in Beverly Hills, "like W. H. Auden, Christopher Isherwood, Dylan Thomas (who shared the composer's taste for hard spirits) and, especially, Aldous Huxley, with whom Stravinsky spoke in French."[15] He settled into life in Los Angeles and sometimes conducted concerts with the Los Angeles Philharmonic at the famous Hollywood Bowl as well as throughout the U.S. When he planned to write an opera with W. H. Auden, the need to acquire more familiarity with the English-speaking world[citation needed] coincided with his meeting the conductor and musicologist Robert Craft. Craft lived with Stravinsky until the composer's death, acting as interpreter, chronicler, assistant conductor, and factotum for countless musical and social tasks.

In 1962, Stravinsky accepted an invitation to return to Saint Petersburg (Leningrad) for a series of concerts. He spent more than two hours speaking with Soviet leader Nikita Khrushchev, who urged him to return to the Soviet Union.[citation needed] Despite the invitation, Stravinsky remained settled in the West. In the last few years of his life, Stravinsky lived at Essex House in New York City.


He died at the age of 88 in New York City and was buried in Venice on the cemetery island of San Michele. His grave is close to the tomb of his long-time collaborator Diaghilev. Stravinsky's professional life had encompassed most of the 20th century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime. He has a star on the Hollywood Walk of Fame at 6340 Hollywood Boulevard and posthumously received the Grammy Award for Lifetime Achievement in 1987.


Personality

Stravinsky displayed an inexhaustible desire to explore and learn about art, literature, and life. This desire manifested itself in several of his Paris collaborations. Not only was he the principal composer for Sergei Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927) and George Balanchine (Apollon musagète, 1928). His taste in literature was wide, and reflected his constant desire for new discoveries. The texts and literary sources for his work began with a period of interest in Russian folklore, progressed to classical authors and the Latin liturgy, and moved on to contemporary France (André Gide, in Persephone) and eventually English literature, including Auden, T. S. Eliot and medieval English verse. At the end of his life, he set Hebrew scripture in Abraham and Isaac.


Stravinsky and Pablo Picasso collaborated on Pulcinella in 1920. Picasso took the opportunity to make several sketches of the composer.Patronage was never far away. In the early 1920s, Leopold Stokowski gave Stravinsky regular support through a pseudonymous "benefactor".[citation needed] The composer was also able to attract commissions: most of his work from The Firebird onwards was written for specific occasions and was paid for generously.

Stravinsky proved adept at playing the part of "man of the world", acquiring a keen instinct for business matters and appearing relaxed and comfortable in many of the world's major cities. Paris, Venice, Berlin, London and New York City all hosted successful appearances as pianist and conductor. Most people who knew him through dealings connected with performances spoke of him as polite, courteous and helpful. For example, Otto Klemperer, who knew Arnold Schoenberg well, said that he always found Stravinsky much more co-operative and easy to deal with.[citation needed] At the same time, he had a marked disregard for those he perceived to be his social inferiors: Robert Craft was embarrassed by his habit of tapping a glass with a fork and loudly demanding attention in restaurants.[citation needed]

Although a notorious philanderer (who was rumoured to have affairs with high-profile partners such as Coco Chanel[citation needed]), Stravinsky was also a family man who devoted considerable amounts of his time and expenditure to his sons and daughters.


Stylistic periods

Stravinsky's career may be divided roughly into three stylistic periods.


Nationalism

The first period (excluding some early minor works) began with Feu d'artifice and achieved prominence with the three ballets composed for Diaghilev. These three works have several characteristics in common: they are scored for an extremely large orchestra; they use Russian folk themes and motifs; and they are influenced by Rimsky-Korsakov's imaginative scoring and instrumentation. They also exhibit considerable stylistic development: from the L'oiseau de feu, which emphasizes certain tendencies in Rimsky-Korsakov and features pandiatonicism conspicuously in the third movement, to the use of polytonality in Petrushka, and the intentionally brutal polyrhythms and dissonances of Le Sacre du printemps.

The first of the ballets, L'Oiseau de feu, is noted for its imaginative orchestration, evident at the outset from the introduction in 12/8 time, which exploits the low register of the double bass. Petrushka, the first of Stravinsky's ballets to draw on folk mythology, is also distinctively scored. In the third ballet, The Rite of Spring, the composer attempted to depict musically the brutality of pagan Russia, which inspired the violent motifs that recur throughout the work. Once again, Stravinsky's originality is evident: the opening theme, played on a bassoon at the very top of its register, has become one of the most famous passages in classical music, as has the pulsing syncopated eighth-note motif in the strings, its accents marked by horn.[citation needed]

If Stravinsky's stated intention was "to send them all to hell",[16] then he may have rated the 1913 première of Le sacre du printemps as a success: it is among the most famous classical music riots, and Stravinsky referred to it frequently as a "scandale" in his autobiography.[17] There were reports of fistfights among the audience, and the need for a police presence during the second act. The real extent of the tumult, however, is open to debate, and these reports may be apocryphal.[18]

Stravinsky later commented about the première of The Rite: "As for the actual performance, I am not in a position to judge, as I left the auditorium at the first bars of the prelude, which had at once evoked derisive laughter. I was disgusted. These demonstrations, at first isolated, soon became general, provoking counter-demonstrations and very quickly developing into a terrific uproar. During the whole performance I was at Nijinsky's side in the wings. He was standing on a chair, screaming 'Sixteen, seventeen, eighteen'--they had their own method of counting to keep time. Naturally the poor dancers could hear nothing by reason of the row in the auditorium and the sound of their own dance-steps. I had to hold Nijinsky by his clothes, for he was furious, and ready to dash on to the stage at any moment and create a scandal. Diaghilev kept ordering the electricians to turn the lights on or off, hoping in that way to put a stop to the noise. That is all I can remember about that first performance."[19]

Other pieces from this period include: Le Rossignol (The Nightingale); Renard (1916); Histoire du soldat (The Soldier's Tale) (1918); and Les Noces (The Wedding) (1923).


Neoclassical

The next phase of Stravinsky's compositional style extended from roughly 1920 to about 1950. Pulcinella (1920) and the Octet (1923) for wind instruments are Stravinsky's first compositions to feature his re-examination of the classical music of Mozart and Bach and their contemporaries. For this "neo-classical" style Stravinsky abandoned the large orchestras demanded by the ballets, and turned instead largely to wind instruments, the piano, and choral and chamber works.

Other works such as Oedipus Rex (1927), Apollon musagète (1928, for the Russian Ballet) and the Dumbarton Oaks Concerto (1937-38) continued this re-thinking of eighteenth-century musical styles.

Works from this period include the three symphonies: the Symphonie des Psaumes (Symphony of Psalms) (1930), Symphony in C (1940) and Symphony in Three Movements (1945). Apollon, Persephone (1933) and Orpheus (1947) exemplify not only Stravinsky's return to music of the Classical period, but also his exploration of themes from the ancient Classical world such as Greek mythology.

Stravinsky completed his last neo-classical work, the opera The Rake's Progress, in 1951, to a libretto by W. H. Auden based on the etchings of Hogarth. It was almost ignored[citation needed] after it was staged by the Metropolitan Opera in 1953. It was presented by the Santa Fe Opera in its first season in 1957 with Stravinsky in attendance, and this marked the beginning of his long association with the company. The music is direct but quirky; it borrows from classic tonal harmony but also interjects surprising dissonances; it features Stravinsky's trademark off-rhythms; and it harks back to the operas and themes of Monteverdi, Gluck and Mozart. The opera was revived by the Metropolitan Opera in 1997.


Serial

Stravinsky began using dodecaphony, the twelve-tone technique originally devised by Arnold Schoenberg, in the early 1950s (after Schoenberg's death). Robert Craft encouraged this undertaking.[20]

He first experimented with non-twelve-tone serial technique in small-scale vocal and chamber works such as the Cantata (1952), Septet (1953), and Three Songs from Shakespeare (1953), and his first composition to be fully based on these non-twelve-tone serial techniques is In Memoriam Dylan Thomas (1954). Agon (1954-57) is his first work to include a twelve-tone series, and Canticum Sacrum (1955) is his first piece to contain a movement entirely based on a tone row ("Surge, aquilo").[21] Stravinsky later expanded his use of dodecaphony in works including Threni (1958), A Sermon, a Narrative, and a Prayer (1961), and The Flood (1962), which are based on biblical texts.

Agon, written from 1954 to 1957, is a ballet choreographed for twelve dancers. It is an important transitional composition between Stravinsky's neo-classical period and his serial style. Some numbers of Agon are reminiscent of the "white-note" tonality of the his neo-classic period, while others (for example Bransle Gay) display his re-interpretation of serial methods.


Innovation

Stravinsky's work embraced several compositional styles, revolutionized orchestration, and practically reinvented ballet as a musical form. He was inspired by different cultures, languages and literatures. As a consequence, his influence on composers both during his lifetime and after his death was, and remains, considerable.


Composition

Stravinsky's use of motivic development (the use of musical figures that are repeated in different guises throughout a composition or section of a composition) included additive motivic development. This is where notes are subtracted or added to a motif without regard to the consequent changes in meter. A similar technique may be found as early as the sixteenth century, for example in the music of Cipriano de Rore, Orlandus Lassus, Carlo Gesualdo, and Giovanni de Macque, music with which Stravinsky exhibited considerable familiarity.[22]

The Rite of Spring is also notable for its relentless use of ostinati; for example in the eighth note ostinato on strings accented by eight horns in the section Auguries of Spring (Dances of the Young Girls). The work also contains passages where several ostinati clash against one another.

Twentieth-century American composer Frank Zappa openly credited Stravinsky as a major influence.[23] While Zappa composed mainly avant-garde rock, jazz and blues, he also composed orchestral pieces. Stravinsky's name is mentioned on several of his albums, including a song called Igor's Boogie included in the album Burnt Weeny Sandwich.


Rhythm

Stravinsky was noted for his distinctive use of rhythm, especially in The Rite of Spring.[24]

According to Philip Glass:[25]

the idea of pushing the rhythms across the bar lines [...] led the way [...] the rhythmic structure of music became much more fluid and in a certain way spontaneous

Glass also praises Stravinsky's "primitive, offbeat rhythmic drive".[26]

According to Andrew J. Browne, "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art."[27]

Stravinsky's rhythm and vitality greatly influenced composer Aaron Copland.[28]


Neoclassicism

Stravinsky's first neo-classical works were the ballet Pulcinella of 1920, and the stripped-down and delicately scored Octet for winds of 1923. Stravinsky may have been preceded in his use of neoclassical devices by earlier composers (such as Erik Satie).

By the late 1920s and 1930s, the use by composers of neoclassicism had become widespread.


Quotation

Stravinsky continued a long tradition, stretching back at least to the fifteenth century in the form of the quodlibet and parody mass, by composing pieces which elaborate on individual works by earlier composers. An early example of this is his Pulcinella of 1920, in which he used music which at the time was attributed to Giovanni Pergolesi as source material, at times quoting it directly and at other times reinventing it. He developed the technique further in the ballet The Fairy's Kiss of 1928, based on the music?-mostly piano pieces?-of Tchaikovsky. Later examples of comparable musical transformations include Stravinsky's use of Schubert in Circus Polka (1942) and Happy Birthday to You in Greeting Prelude (1955).


Folk material

In Le Sacre du Printemps Stravinsky stripped folk themes to their most basic melodic outlines, and often contorted them beyond recognition with added notes, and other techniques including inversion and diminution. Only in recent scholarship, such as described in Richard Taruskin's Stravinsky and the Russian Traditions,[citation needed] have analysts uncovered the original source material for some of the music in The Rite.


Orchestra

Like many of the late romantic composers, Stravinsky often called for huge orchestral forces, especially in the early ballets. His first breakthrough The Firebird proved him the equal of Nikolai Rimsky-Korsakov and lit the "fuse under the instrumental make up of the 19th century orchestra". In The Firebird he took the orchestra apart and analyzed it.[29] The Rite of Spring on the other hand has been characterized by Aaron Copland as the foremost orchestral achievement in 20th century.[30]

Stravinsky also wrote for unique combinations of instruments in smaller ensembles, chosen for their precise tone colours. For example, Histoire du soldat (The Soldier's Tale) is scored for clarinet, bassoon, cornet, trombone, violin, double bass and percussion, a strikingly unusual combination for 1918.

Stravinsky occasionally exploited the extreme ranges of instruments, most famously at the opening of the Rite of Spring where Stravinsky uses the extreme upper reaches of the bassoon to simulate the symbolic "awakening" of a spring morning.


Criticism

Erik Satie wrote an article about Igor Stravinsky that was published in Vanity Fair (1922). Satie had met Stravinsky for the first time in 1910. Satie's attitude towards the Russian composer is marked by deference, as can be seen from the letters he wrote him in 1922, preparing for the Vanity Fair article. With a touch of irony, he concluded one of these letters "I admire you: are you not the Great Stravinsky? I am but little Erik Satie." In the published article, Satie argued that measuring the "greatness" of an artist by comparing him to other artists, as if speaking about some "truth", is illusory: every piece of music should be judged on its own merits, not by comparing it to the standards of other composers. That was exactly what Jean Cocteau had done, when commenting deprecatingly on Stravinsky in his 1918 book Le Coq et l'Arlequin.[31]

All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war.... What has become of the works that made up the program of the Stravinsky concert which created such a stir a few years ago? Practically the whole lot are already on the shelf, and they will remain there until a few jaded neurotics once more feel a desire to eat ashes and fill their belly with the east wind.|[32]

In 1935, American composer Marc Blitzstein compared Stravinsky to Jacopo Peri and C. P. E. Bach, conceding that "There is no denying the greatness of Stravinsky. It is just that he is not great enough".[33] Blitzstein's Marxist position is that Stravinsky's wish was to "divorce music from other streams of life," which is "symptomatic of an escape from reality", resulting in a "loss of stamina his new works show", naming specifically Apollo, the Capriccio, and Le Baiser de la fée.[34]

Composer Constant Lambert described pieces such as Histoire du soldat (The Soldier's Tale) as containing "essentially cold-blooded abstraction".[35] Lambert continued, "melodic fragments in Histoire du Soldat are completely meaningless themselves. They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups", and he described the cadenza for solo drums as "musical purity...achieved by a species of musical castration". He compared Stravinsky's choice of "the drabbest and least significant phrases" to Gertrude Stein's: "Everyday they were gay there, they were regularly gay there everyday" ("Helen Furr and Georgine Skeene", 1922), "whose effect would be equally appreciated by someone with no knowledge of English whatsoever".[36]

In his book Philosophy of Modern Music (1949), Theodor Adorno called Stravinsky an acrobat, a civil servant, a tailor's dummy, hebephrenic, psychotic, infantile, fascist, and devoted to making money.[cite this quote] Part of the composer's error, in Adorno's view, was his neo-classicism,[37] but more important was his music's "pseudomorphism of painting," playing off le temps espace (time-space) rather than le temps durée (time-duration) of Henri Bergson.[38] "One trick characterizes all of Stravinsky's formal endeavors: the effort of his music to portray time as in a circus tableau and to present time complexes as though they were spatial. This trick, however, soon exhausts itself."[39] His "rhythmic procedures closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego."[40]


Awards

Sonning Award (1959; Denmark)

Recordings

Igor Stravinsky found recordings to be a practical and useful tool in preserving his own thoughts on the interpretation of his music. As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet. In the late 1940s, he made several recordings for RCA Victor at the Republic Studios in Los Angeles. Although most of his recordings were made with studio musicians, he also worked with the Chicago Symphony Orchestra, the Cleveland Orchestra, the CBC Symphony Orchestra, the New York Philharmonic Orchestra, and the Royal Philharmonic Orchestra.
0 Replies
 
bobsmythhawk
 
  1  
Reply Tue 17 Jun, 2008 08:50 am
Ralph Bellamy
From Wikipedia, the free encyclopedia

Born Ralph Rexford Bellamy
June 17, 1904(1904-06-17)
Chicago, Illinois
Died November 29, 1991 (aged 87)
Santa Monica, California
Occupation Film, stage actor
Spouse(s) Alice Delbridge (1927-1930)
Catherine Willard (1931-1945)
Ethel Smith (1945-1947)
Alice Murphy (1949-1991)
Awards won
Academy Awards
Academy Honorary Award
1987 Lifetime Achievement
Screen Actors Guild Awards
Life Achievement Award
1984 Lifetime Achievement
Tony Awards
Best Leading Actor in a Play
1958 Sunrise at Campobello
Other Awards
Hollywood Walk of Fame
6542 Hollywood Boulevard

Ralph Rexford Bellamy (June 17, 1904 - November 29, 1991) was an American actor with a career spanning sixty-two years.





Biography

Early life

Bellamy was born in Chicago, Illinois, the son of Lilla Louise (née Smith), a native of Canada, and Charles Rexford Bellamy.[1] He began his acting career on stage, and by 1927 owned his own theatre company. In 1931, he made his film debut and worked constantly throughout the decade to establish himself as a capable supporting actor. Bellamy received the lead role in the 1936 film Straight from the Shoulder.


Film career

He received an Academy Award nomination for Best Supporting Actor for his role in The Awful Truth (1937) opposite Irene Dunne and Cary Grant and played a similar part (a naive, aw-shucks boyfriend competing with the sophisticated light-comedy Grant character) in His Girl Friday (1940). He portrayed detective Ellery Queen in a few films during the 1940s, but as his film career did not progress, he returned to the stage, where he continued to perform throughout the fifties. Highly regarded within the industry, he was a founder of the Screen Actors Guild and served as President of Actors' Equity from 1952-1964.

He was briefly married to organist Ethel Smith from 1945 to 1947.[2] Bellamy was also married to Alice Delbridge (1927-1930), Catherine Willard (1931-1945), and, finally, Alice Murphy (1949-1991).

Bellamy was a regular panelist on the CBS television game show To Tell the Truth during its initial run. He also starred in the television detective series Follow that Man, AKA Man Against Crime


On Broadway he appeared in one of his most famous roles, as Franklin Delano Roosevelt in Sunrise at Campobello. He later starred in the 1960 film version. In the summer of 1961, Bellamy hosted nine original episodes of a CBS Western anthology series called Frontier Justice, a Dick Powell Four Star Television production.

On film, he also starred in Rosemary's Baby (1968) as a devilish physician, before turning to television during the 1970s. An Emmy Award nomination for the mini-series The Winds of War (1983) - in which Bellamy reprised his Sunrise at Campobello role of Franklin Roosevelt - brought him back into the limelight. This was quickly followed by his role as Randolph Duke, a conniving billionaire alongside Don Ameche in Trading Places (1983).

In the 1988 Eddie Murphy film, Coming to America, Bellamy and co-star Don Ameche reprised a one-scene cameo of their roles as the Duke brothers. After Randolph and Mortimer Duke lost their enormous fortune at the end of Trading Places, in Coming to America, the brothers are homeless and living on the streets. Prince Akeem (Murphy) gives them a paper bag filled with money, which they gratefully accept and exclaim "We're back!" (failing to notice that the generous Akeem bears an uncanny resemblance to Billy Ray Valentine, the man who had ruined them).


Final years

In 1984, he was presented with a Life Achievement Award from the Screen Actors Guild, and in 1987 received an Honorary Academy Award "for his unique artistry and his distinguished service to the profession of acting".

Among his later roles was a memorable appearance as a once-brilliant but increasingly forgetful lawyer sadly skewered by the Jimmy Smits character on an episode of L.A. Law.

He continued working regularly and gave his final performance in Pretty Woman (1990).

He died as a result of a lung ailment in Santa Monica, California at the age of 87, and was buried in Forest Lawn - Hollywood Hills Cemetery in Los Angeles.


Awards and honours

Bellamy has a star on the Hollywood Walk of Fame at 6542 Hollywood Boulevard.

In a 2007 episode of Boston Legal, footage of a 1957 episode of Studio One was used. The episode featured Bellamy and William Shatner as a father-son duo of lawyers. This was used in the present-day to explain the relationship between Shatner's Denny Crane character and his father in the show.
0 Replies
 
bobsmythhawk
 
  1  
Reply Tue 17 Jun, 2008 08:59 am
Barry Manilow
From Wikipedia, the free encyclopedia

Background information

Birth name Barry Alan Pincus
Born 17 June 1943 (1943-06-17) (age 65)
Brooklyn, New YorkUSA
Genre(s) Popular music, soft rock
Occupation(s) Singer-songwriter, musician, arranger, producer, conductor
Instrument(s) Vocals, piano, keyboard, accordion
Years active 1973-present
Label(s) Bell, Arista, RCA
Concord
Website www.manilow.com

Barry Manilow (born Barry Alan Pincus on June 17, 1943[citation needed]) is an American artist best known for such recordings as "I Write the Songs," "Mandy," "Weekend in New England" and "Copacabana."

Manilow's career achievements include sales of more than 76 million records worldwide. In 1978, five of his albums were on the best-selling charts simultaneously; a feat equalled only by Frank Sinatra and Johnny Mathis. He has recorded a string of Billboard hit singles and multi-platinum albums that have resulted in his being named Radio & Records number one Adult Contemporary artist and winning the American Music Award for Favorite Pop/Rock Male Artist for three consecutive years. Several well-known entertainers have given Manilow their "stamp of approval," including Sinatra, who was quoted in the 1970s regarding Manilow, "He's next." In 1988, Bob Dylan stopped Manilow at a party, hugged him and said, "Don't stop what you're doing, man. We're all inspired by you." Arsenio Hall cited Manilow as a favorite guest on The Arsenio Hall Show and admonished his audience to respect him for his work.[1]

As well as producing and arranging albums for other artists, such as Bette Midler, Dionne Warwick and Rosemary Clooney, Manilow has also written songs for musicals and movies.

Since February 2005, he has been the headliner at the Las Vegas Hilton, and has performed hundreds of shows since.





Biography

Born as Barry Alan Pincus on June 17, 1943,[citation needed] in Brooklyn, New York to Harold and Edna Pincus (who died in 1993 and 1994, respectively, were of Russian, Jewish, and Irish ancestry. After their divorce when he was two years old, he was raised by his mother and maternal grandparents, Joseph and Esther Manilow, in the Williamsburg section of Brooklyn. Manilow's grandparents, who died in 1973 and 1975, had a strong influence on his life.[2] It was they who encouraged him to take up his first musical instrument, the accordion, which was popular in his Jewish and Italian neighborhood.

In 1948, as a five-year old he recorded "Happy Birthday" with his grandfather in a coin-operated recording booth as a present for his cousin Dennis.[3] Twenty five years later, a sample of this recording, known as "Sing It," served as the opening track on his first album.

When his mother later remarried, Manilow's stepfather, Willie Murphy, brought an extensive collection of jazz and swing records into the house. As a teenager, he listened to these records constantly, coming to idolize such conductors and composers as Harold Arlen, Irving Berlin, Leonard Bernstein, Cole Porter and Nelson Riddle. It was Murphy who gave him a piano for his 13th birthday, at the time of his bar mitzvah. Manilow then dropped the accordion and began practising on his new piano.

At this point, Edna Pincus legally changed her surname, as well as her son's, to her maiden name, "Manilow." Over the next few years, Manilow performed locally for small businesses and parties. He graduated from Eastern District High School in New York in 1961.

Following graduation, Manilow enrolled at the New York College of Music and The Juilliard School, while working in the mailroom at CBS to pay his expenses. At CBS in 1964, the 21-year-old Manilow met Bro Herrod, a director, who asked him to arrange some public domain songs for a musical adaptation of the melodrama, The Drunkard. Instead, he wrote an entire original score.[4] The musical became a success and ran Off-Broadway for eight years at the 13th Street Theatre in New York.[5]

Also in 1964, Manilow married his high school sweetheart, Susan Deixler. However, Manilow's devotion to his musical interests caused tension in the marriage. When he was 22, he sought advice about whether to take up music full-time from a column in Playboy magazine, which published his letter in its December, 1965 issue and recommended that he go "sow your notes".[6] On January 6, 1966, Manilow and Deixler signed the annulment decree she filed after he asked for a divorce.[7]

Manilow earned money by working as a pianist, producer and arranger. Manilow has said of that time that he played piano for anybody: "If the check cleared, I was there."[8]

Manilow worked as a commercial jingle writer/singer,[9] an activity that continued well into the 1970s. He penned many of the jingles that he performed, including those for Bowlene Toilet Cleaner, State Farm Insurance, Stridex acne cleanser and Band-Aid, amongst others. His singing-only credits included Kentucky Fried Chicken, Pepsi, Jack in the Box, Dr Pepper, and the famed McDonald's "You Deserve a Break Today" campaign.[10] Manilow won two Clio Awards in 1976 for his work for Tab and Band-Aid.[11]

By 1967, Manilow was the musical director for the WCBS-TV series Callback. He next conducted and arranged for Ed Sullivan's production company, arranging a new theme for The Late Show, while still writing, producing and singing his radio and television jingles. At the same time, he and Jeanne Lucas performed as a duo for a two-season run at New York's Upstairs at the Downstairs club.[12]


Career

1970s: Success

Manilow's association with Bette Midler began at the Continental Baths in New York City.[13] He accompanied her and other artists on the piano from 1970 to 1971, and Midler chose Manilow to assist with the production of her first two albums, The Divine Miss M (1972) and Bette Midler (1973), and act as her musical director on the The Divine Miss M tour.[14] Manilow worked with Midler for four years, from 1971 to 1975. In 1973, Bell Records released Manilow's first album, Barry Manilow, which offered an eclectic mix of piano-driven pop and guitar-driven rock music. The album included a song that Manilow had composed for the 1972 war drama Parades. Among the songs in the album were "Friends," "Cloudburst," and "Could It Be Magic." Bette Midler permitted Manilow to sing three of the songs in that album during intermission in her show.

As a result of a corporate takeover, Bell Records, along with other labels, was merged into a new entity named Arista Records, under the leadership of Clive Davis, who seized the opportunity to drop many artists. However, after seeing Manilow perform as the opening act at a Dionne Warwick concert, he was convinced that he had a winner on his hands, and a mentorship lasting decades resulted.


The partnership began to bear fruit in 1974, with the release of Manilow's second album, Barry Manilow II, on both Bell and Arista, which contained the breakthrough number-one hit, "Mandy". Ironically, Manilow had not wanted to record "Mandy," as he hadn't written it ?- but the song was included at the insistence of Clive Davis. Following the success of Barry Manilow II, the first Bell release was re-mixed and re-issued as Barry Manilow I. When Manilow went on his first tour, he included as part of his show "A Very Strange Medley," a sampling of some of the commercial jingles that he had written or sung. Beginning with Manilow's March 22, 1975 appearance on American Bandstand to promote Barry Manilow II (where he sang "Mandy" and "It's A Miracle"), a productive friendship with Dick Clark started.[15] Numerous appearances by Manilow on Clark's productions of Dick Clark's New Year's Rockin' Eve, singing his original seasonal favorite "It's Just Another New Year's Eve", American Bandstand anniversary shows, American Music Awards performances and his 1985 television movie Copacabana are among their projects together.

"Mandy" was the start of a string of hit singles and albums that lasted through the rest of the 1970s to the early 1980s, coming from the multi-platinum and multi-hit albums Tryin' to Get the Feeling, This One's for You, Even Now and One Voice. Despite being a solid songwriter in his own right, Manilow has had great success with songs by others. Among the hits which he did not write are "Mandy," "Tryin' to Get the Feeling Again", "Weekend in New England," "Looks Like We Made It," "Can't Smile Without You" and "Ready to Take a Chance Again." "I Write The Songs," for example, was written by Bruce Johnston of The Beach Boys. According to album liner notes, Manilow did, however, co-produce them with Ron Dante and arrange them. In addition, he wasn't allowed to curse, since if he did they'd never play him on the AM radio.

Manilow's breakthrough in Britain came with the release of Manilow Magic - The Best Of Barry Manilow, also known as Greatest Hits. On its initial release, the was accompanied by a large television advertising campaign, but the album was only available by mail order on the "Teledisc" label. In the late 1970s and early 1980s, ABC aired four variety television specials starring and executive produced by Manilow. The Barry Manilow Special with Penny Marshall as his guest premiered on March 2, 1977 to an audience of 37 million. The breakthrough special was nominated for four Emmys and won in the category of "Outstanding Comedy-Variety or Music Special".[16] The Second Barry Manilow Special in 1978, with Ray Charles as his guest, was also nominated for four Emmys.[17]

Manilow's "Ready To Take a Chance Again" and "Copacabana" originated in the film Foul Play.[18] "Ready To Take A Chance Again" was nominated that year for the "Best Original Song".[19] Copacabana would later take the form of a musical television movie starring Manilow and three musical plays. On February 11, 1979, a concert from Manilow's sold-out dates at the Greek Theatre in Los Angeles, California was aired on HBO's series Standing Room Only, which was the first pay-television show to seriously challenge network primetime specials in the ratings. From the same tour in 1978, a one-hour special from Manilow's sold out concert at Royal Albert Hall aired in England.

On May 23, 1979, ABC aired The Third Barry Manilow Special, with John Denver as his guest. This special was nominated for two Emmy awards and won for "Outstanding Achievement in Choreography".[20] Also in 1979, Manilow produced Dionne Warwick's "comeback" album Dionne. The Arista album was her first to go platinum and spawned "I'll Never Love This Way Again" and "Deja Vu". He also scored a top ten hit of his own in the Fall of 1979 with the song "Ships" from the Album "One Voice".


1980s: Midlife

The 1980s gave Manilow the adult contemporary chart-topping hit songs "The Old Songs," "Somewhere Down The Road," "Read 'Em and Weep" and a remake of the 1941 Jule Styne and Frank Loesser standard "I Don't Want to Walk Without You." Manilow continued having high radio airplay throughout the decade. In the UK, Manilow had five sold-out performances at the Royal Albert Hall, for which nearly a half million people vied for the 21,500 available seats. In the United States, he sold out Radio City Music Hall in 1984 for 10 nights and set a box-office sales record of nearly $2 million, making him the top draw in the then 52-year history of the Music Hall.[21] In 1980, Manilow's One Voice special, with Dionne Warwick as his guest, was nominated for an Emmy for "Outstanding Achievement in Music Direction".[22]

Also in 1980, a concert from Manilow's sold-out shows at the Wembley Arena was broadcast while he was on a world tour. Manilow released the self-titled Barry (1980), which was his first album to not reach the top ten in the United States, stopping at #15. The album contained "I Made It Through The Rain" and "Bermuda Triangle." "We Still Have Time" was featured in the 1980 drama Tribute. The album If I Should Love Again followed in 1981, containing "The Old Songs", "Let's Hang On" and "Somewhere Down The Road". This was the first of his own albums that Manilow produced without Ron Dante, who had co-produced all the previous albums. Manilow's sold-out concert at the Pittsburgh Civic Arena in Pittsburgh, Pennsylvania was aired nationally on Showtime, and locally on Philadelphia's now-defunct PRISM (a local sports and movie channel). In 1982, a concert from his sold out Royal Albert Hall show was broadcast in England. The live album and video Barry Live in Britain also came from his Royal Albert Hall shows.

On August 27, 1983, Manilow performed a landmark open air concert at Blenheim Palace in Britain. It was the first such event ever held at that venue and was attended by a conservative estimate of 40,000 people. In December 1983, Manilow was reported to have endowed the music departments at six major universities in the United States and Canada.[23] The endowments were part of a continuing endeavor by Manilow to recognize and encourage new musical talent.[24]

During his midlife years, Manilow began to expand his repertoire by exploring his own musical interests. The result was his 1984 collection of original barroom tunes 2:00 AM Paradise Cafe, a jazz/blues album that was recorded in one live take in the studio. In 1984, Showtime aired a documentary of Manilow recording the album with a number of jazz legends, such as Sarah Vaughn and Mel Tormé. In 1984 and 1985, England aired two one-hour concert specials from his National Exhibition Centre (NEC) concerts. In 1985, Manilow left Arista Records for RCA Records. There he released the pop album Manilow, and began a phase of international music, as he performed songs and duets in French, Spanish, Portuguese and Japanese, among other languages. The Manilow album was a complete about face from the Paradise Cafe album, containing a number of tracks that were of a modern uptempo and synthesized quality. In 1985, Japan aired a concert special Manilow did there where he played "Sakura" on the koto.

In his only lead acting role, he portrayed Tony Starr in a 1985 CBS film based on Copacabana which also featured Annette O'Toole as Lola Lamarr and Joseph Bologna as Rico. This was named one of the top TV specials of the year by TV Guide magazine. Manilow penned all the songs for the movie, with lyrics provided by established collaborators Bruce Sussman and Jack Feldman. RCA records also released a soundtrack album of the movie. In October 1986, Manilow, along with Bruce Sussman, Tom Scott, and Charlie Fox went to Washington, D.C. for two days of meetings with legislators, including lunch with then Senator Al Gore (D-TN).[25] They were there to lobby against a copyright bill put forward by local television broadcasters that would mandate songwriter-producer source licensing of theme and incidental music on syndicated television show reruns and would disallow use of the blanket license now in effect. The songwriters said without the blanket license, artists would have to individually negotiate up front with producers, without knowing if a series will be a success. The license now pays according to a per-use formula. Manilow said that such a bill would act as a precedent for broadcasters to get rid of the blanket license entirely.[26]

The following year, McGraw-Hill published his autobiography Sweet Life: Adventures on the Way to Paradise which had taken him about three years to complete. While promoting his autobiography, Manilow defended his music in a telephone interview: "I live in laid-back L.A., but in my heart, I'm an energetic New Yorker and that's what has always come out of my music. I've always been surprised when the critics said I made wimpy, little ballads".[27] Manilow returned to Arista Records in 1987 with the release of Swing Street. The album contained a mixture of traditional after-dark and techno jazz. It contained "Brooklyn Blues", an autobiographical song for Manilow, and "Hey Mambo" an uptempo Latin style duet with Kid Creole, produced with the help of Emilio Estefan, Jr., founder of Miami Sound Machine.

In March 1988, CBS aired Manilow's Big Fun on Swing Street special that featured songs and special guests from his Swing Street and 2:00 AM Paradise Cafe albums including Kid Creole and the Coconuts, Phyllis Hyman, Stanley Clarke, Carmen McRae, Tom Scott, Gerry Mulligan, Diane Schuur, Full Swing, and Uncle Festive a band within Manilow's band at the time. The special was nominated for two Emmys in categories of "Outstanding Lighting Direction (Electronic): For a Variety/Music or drama series, a miniseries or a special" and won in the category of "Outstanding Art Direction for a Variety or Music program".[28] England also aired another NEC one-hour concert special Manilow did while on his Big Fun Tour de Force tour.

In 1988, he performed "Please Don't Be Scared" and "Mandy/Could It Be Magic" at That's What Friends Are For: AIDS Concert '88, a benefit concert for the Warwick Foundation headed by Dionne Warwick and shown on Showtime a couple of years later. In the 1988 Walt Disney Pictures cartoon movie Oliver & Company Bette Midler's character sung a new Manilow composition called "Perfect Isn't Easy". The 1989 release of Barry Manilow, which contained "Please Don't Be Scared", "Keep Each Other Warm" and "The One That Got Away", ended Manilow's streak of albums of original self-written material. Except for two songs, the songs were neither written nor arranged by himself and was the beginning of a phase of his recording career consisting of covers and compilations.[29]

In 1989, Manilow put on a show named Barry Manilow at the Gershwin from April 18 to June 10, 1989 where he made 44 appearances.[30] By coincidence, the Gershwin Theatre (formally called the Uris Theatre) was the same one where Barry Manilow Live was recorded in 1976. A bestselling 90-minute video of the same show was released the following year as Barry Manilow Live On Broadway. The Showtime one-hour special Barry Manilow SRO On Broadway consisted of edited highlights from this video. Manilow followed this set of shows with a sold out world tour of the Broadway show.


1990s: Under cover

In the 1990s, Manilow's album career changed significantly. His recordings switched from him being primarily a singer-songwriter to him being a cover artist. A trend that started with the 1989 release Barry Manilow, continued with his 1990 Christmas LP Because It's Christmas. Consequent "event" albums followed including: Showstoppers, a collection of Broadway songs (1991), Singin' with the Big Bands (1994) and a late 1970s collection Summer of '78 (1996) which included the hit "I Go Crazy", formerly a hit for Paul Davis in 1978. Many consider this to be the weakest effort of Manilow's career. The decade ended with Manilow recording a tribute to Frank Sinatra Manilow Sings Sinatra (1998) released months after Sinatra's death.

In 1990, Japan aired National Eolia Special: Barry Manilow On Broadway where he sang the title song "Eolia", which was used as a song there in a commercial for an air conditioner company of the same name, as well as other songs from his 1989-1990 Live on Broadway tour. In the early 1990s, Manilow signed on with Don Bluth to compose the songs with lyricists Jack Feldman and Bruce Sussman for three animated films. He co-wrote the Broadway-style musical scores for Thumbelina (1994) and The Pebble and the Penguin (1995). The third film, entitled Rapunzel, was shelved after the poor performance of Pebble. Manilow was also to be cast as the voice of a cricket. Manilow also composed the score and wrote two songs with Bruce Sussman for Disney Sing Along Songs: Let's Go To The Circus. But unfortunately, because of a contract agreed by both of them, Andrew Belling and Domenick Allen were credited as composers, meaning that nobody isn't supposed to know that a celebrity like Manilow should be credited in that movie.

On February 19, 1992, Manilow testified before the Subcommittee on Intellectual Property and Judicial Administration House Committee in support of H.R. 3204 The Audio Home Recording Act of 1991.[31] The bill was signed into law on October 28, 1992 by President George H. W. Bush. The Act, an historic compromise between the consumer electronics and music industries, became effective immediately. In 1993, PBS aired Barry Manilow: The Best of Me, taped at Wembley Arena in England that year, to fundraise. The BBC also played a one-hour version of the same show including "The Best of Me" sung during the concert, a bonus song or "lucky strike extra" as Manilow says, not seen in The Greatest Hits...and then some, the video release of the show; however, the song was included on the DVD of the same title, with Manilow seated in front of a black curtain, lip-syncing to the recording. Manilow branched out in another direction and with longtime lyricist Bruce Sussman launched Copacabana, a musical play based on previous Manilow-related adaptations. They wrote new songs and it ran for two years on the London West End and a tour company formed.

In December 1996, A&E aired Barry Manilow: Live By Request, the first of two Live By Requests he does. The broadcast was A&E's most successful music program, attracting an estimated 2.4 million viewers. The show was also simulcast on the radio. In March 1997, VH-1 aired Barry Manilow: The Summer of '78, a one-hour special of Manilow solo at the piano being interviewed and playing his greatest hits as well as songs from Summer of '78 his latest release at the time. In another collaboration between Manilow and Sussman they co-wrote the musical Harmony, which previewed October 7 to November 23, 1997 at the La Jolla Playhouse in La Jolla, California.[32] Later in 2003, Harmony was originally scheduled for a tryout run in Philadelphia before going to Broadway, but was cancelled after financial difficulties. After a legal battle with Mark Schwartz, the show's producer, Manilow and Sussman in 2005 won back the rights to the musical.[33]

On October 23, 1999, NBC aired the two-hour special StarSkates Salute to Barry Manilow taped at the Mandalay Bay Hotel in Las Vegas, Nevada featuring numerous figure skaters performing to Manilow's music. Manilow also performed as well.


2000s: Comeback

In the beginning of the new century Manilow had two specials, Manilow Country and Manilow Live!, taped over two consecutive days at the Tennessee Performing Arts Center in Nashville, Tennessee. On April 11, 2000, The Nashville Network (TNN) aired the two-hour Manilow Country, which featured country stars Trisha Yearwood, Neal McCoy, Deana Carter, Jo Dee Messina, Lorrie Morgan, Kevin Sharp, Lila McCann, Gillian Welch and Jaci Velasquez singing their favorite Manilow hits with a "country" twist. Manilow performed as well. The special was TNN's first high definition broadcast and became one of TNN's highest rated concert specials.

In June 2000, DirectTV aired the two-hour concert special Manilow Live! where Manilow had his band, a 30-piece orchestra, and a choir. This HDTV special documented his most recent concert tour with the greatest hits of his career and was released to video. Also in 2000, he worked with Monica Mancini on her Concord album The Dreams of Johnny Mercer which included seven songs Manilow wrote to Mercer's lyrics. Meanwhile, Manilow's record contract with Arista Records was not renewed due to new management. He then got a contract at Concord Records, a jazz-oriented label in California, and started work on the long-anticipated concept album, Here at the Mayflower. The album was another eclectic mix of styles, almost entirely composed and produced by Manilow himself.


While Manilow was at Concord Records, the Barry Manilow Scholarship was awarded for four consecutive years from 2002 to 2005 to the six highest-achieving students to reward excellence in the art and craft of lyric writing. The UCLA Extension course "Writing Lyrics That Succeed and Endure," taught by long time Manilow collaborator Marty Panzer and each student received three additional "master class" advanced sessions as well as a three-hour private, one-on-one session with Mr. Panzer. Scholarship recipients were selected by the instructor based on progress made within the course, lyric writing ability, and the instructor's assessment of real potential in the field of songwriting.[34] In February 2002, Manilow's recording career bounced back into the charts when Arista released a greatest hits album titled Ultimate Manilow. On May 18, 2002, Manilow returned to CBS with Ultimate Manilow, his first special at the network since his 1988 Big Fun on Swing Street special. The special was filmed in the Kodak Theatre in Hollywood, California and was nominated for an Emmy in the category of "Outstanding Music Direction".[35]

Produced by Manilow, Bette Midler Sings the Rosemary Clooney Songbook was first released on September 30, 2003. It was the first time that Bette Midler had worked with Barry in more than twenty years. Instantly successful, the album went gold and they worked together again on a 2005 follow-up album entitled Bette Midler Sings the Peggy Lee Songbook. On December 3, 2003, A&E aired A Barry Manilow Christmas: Live by Request, his second of two concerts for the series. The two-hour special had Manilow taking requests for Christmas songs performed live with a band and an orchestra. Also on the special were guests Cyndi Lauper, Jose Feliciano, and Bette Midler (Midler, busy preparing her own tour in LA, appeared only in a pre-taped segment).

2004 saw the release of two albums. These were, consecutively, a live album, 2 Nights Live! (BMG Strategic Marketing Group, 2004), and Scores: Songs from Copacabana & Harmony, an album of Manilow singing his musicals songs were both released in 2004. Scores was the last of Manilow's creative project with the Concord label.


During his third appearance on The Oprah Winfrey Show on September 15, 2004, Winfrey announced that Manilow is one of the most requested guests of all time on her show. On the show he promoted his One Night Live! One Last Time! tour. It was around this time period where Manilow appeared for the first time on the mainstream FOX program American Idol in which his back-up singer, Debra Byrd, doubles as voice coach on the series. It was also during this period that several in the media felt the meteoric rise of Idol runner-up Clay Aiken and the constant comparisons of him to Manilow caused the revitalization of Manilow's career in the mainstream with a lot of younger music listeners learning of Manilow by way of the comparisons of Clay Aiken to him. Manilow appeared on Aiken's TV special, A Clay Aiken Christmas. It was reported that Manilow often introduced himself to younger audiences with comments such as "I'm Barry Manilow.... This is what Clay Aiken will look like in 30 years."

Las Vegas Hilton executives in a press conference with Manilow on December 14, 2004 announced his signing to a long-term engagement as the house show.[36] In March 2006, Manilow's engagement was extended through 2008.[37]

Manilow returned to Arista Records under the guidance of Davis for a new album of cover versions released on January 31, 2006 called The Greatest Songs of the Fifties. Manilow said he was blown away with the idea, which Davis presented to him when he visited his Las Vegas show. "When he suggested this idea to me, I slapped my forehead and said, 'Why hasn't anyone thought of this idea?'" Manilow said. "But of course there is only one Clive Davis. I feel honored and terribly fortunate to be working with him again after all these years. It's like coming home."[38] The album included classic songs from that decade, like "Are You Lonesome Tonight?" and "Unchained Melody". It was an unexpected hit, debuting at number one in the Billboard 200, marking the first time a Manilow album debuted at the top of the album chart as well as the first time a Manilow album has reached number one in 29 years. It was eventually certified Platinum in the U.S., and sold over three million copies worldwide.

In March 2006, PBS aired Barry Manilow: Music and Passion, a Hilton concert taped exclusively for the network's fundraising drive. Manilow was nominated for two Emmys, winning for "Outstanding Individual Performance in a Variety or Music Program". A sequel album to his best-selling fifties tribute album, The Greatest Songs of the Sixties was released on October 31, 2006 including songs such as "And I Love Her" and "Can't Help Falling in Love". It nearly repeated the success of its predecessor, debuting at #2 in the Billboard 200.


In January 2007, Manilow returned to his hometown of New York City for three shows at Madison Square Garden. One highlight was the showing onscreen of Manilow performing in one of his first television appearances while the "live" Manilow played along onstage. In July 2007, it was revealed that Manilow will release a CD spotlighting the decade he became a super-star: the 1970s. The Greatest Songs of the Seventies is set to be released September 18, 2007. Released September 18, 2007 was Manilow's new album. "The Greatest Songs of the Seventies" was a follow-up album to the record-breaking previous two albums "Greatest Songs of the Fifties" and "Greatest Songs of the Sixties." Manilow surpassed any other artist on QVC selling thousands of albums while performing live during an interview. The album also contained "Acoustic" versions of several Manilow hits.

A television special taped for PBS took place in Manilow's home town, Brooklyn, New York. The show will appear on television soon. Although Manilow is now mostly located at the Las Vegas Hilton, he returned to the road in 2007. Several shows were played on the east coast of the United States in August of 2007. Four more shows are coming to Uniondale, New York, East Rutherford, New Jersey, Cleveland, Ohio, and Detroit, Michigan, all in December of 2007. Manilow launched another short tour in early 2008, visiting several large venues including the Xcel Energy Center in St. Paul, MN


Newsmaker



Throughout his career, Barry Manilow has made media headlines on various subjects from his health to crashing his Range Rover. Some of the most memorable ones include:

Edna Manilow, the mother of Barry Manilow, explained how her son got a scar on his right cheek by his nose: "How did you notice that? The scar on his cheek here? Well, when he was little, he had a little girlfriend, Elizabeth, and she pushed him and he fell and I didn't pay too much attention to it and then it started infecting ?- you know, it got an infection, and I had to take him to the hospital and it healed. But it stayed, obviously, you all noticed it. He puts on make-up."[39]

On October 25, 1978, one hour before his scheduled debut at the Olympia Theatre he fractured his ankle.[40] Manilow was rushed to a doctor who taped the injury minutes before he stepped onstage. Manilow insisted on going on and doing his complete show, which included an intricate disco dance in the popular "Copacabana" production number.[41]

In an April 1979 Ladies Home Journal interview, Manilow admitted to experimenting with marijuana, stating he lost the taste for it quickly.[42]

A young woman's letter was published in the syndicated Dear Abby advice column in late 1981 expressing her sincere desire to meet "lonely" Manilow, or actor Burt Reynolds.[43]

On February 4, 1982 Manilow who was bedridden in a Paris hotel with bronchial pneumonia, had been ordered by doctors to cancel a nine-concert European tour.[44] He was ordered to remain in bed for at least a week and would probably return to his Los Angeles home when he was able to travel, said publicist Heidi Ellen Robinson. Manilow became ill in Paris earlier that week after completing a month-long United Kingdom tour.[45]

Manilow sprained his ankle October 6, 1983 on the stage at London's Royal Festival Hall while performing at a sold-out benefit concert before the Prince and Princess of Wales, who hosted the show.[46] Manilow was treated and released from a London hospital.

Manilow made headlines when on December 7, 1986 he underwent emergency oral surgery at the Hospital of the Good Samaritan in Los Angeles to remove a non-cancerous cyst in his upper jaw that exploded.[47] Three days later he was released in good condition from the hospital. During the emergency, he used his friend Elizabeth Taylor's dental surgeon.[48]

On May 13, 1989 Manilow was rushed to Lenox Hill Hospital during intermission at Broadway's Gershwin Theater cancelling the second half of his show. His agent Susan Dubow said he was "feeling fine" after being forced from the Broadway stage because of an adverse reaction to medication prescribed for a stomach ailment. Dubow also added that Manilow was ready to return to the stage to complete the run of his concert show, which was then extended one week to June 3.[49]

In 1989, Manilow made headlines again when he told Us Magazine he was hoping for a dinner invitation from his new Bel-Air neighbors, Ronald and Nancy Reagan, but complains they cramp his style of sunbathing in the nude.[50] "I thought it was pretty hot, but there is Secret Service all over the place. I always know when they are coming home because of all the helicopters. If I am out there sunbathing in the nude, I go, 'S---, the Reagans are coming home.' But, who knows, maybe they will invite me over for dinner one night."[51]

Manilow's personal life caused quite a stir in the late 1980s when an American tabloid claimed he was engaged to porn star Robin Byrd. On a June 22, 1989 appearance on The Tonight Show Starring Johnny Carson, Manilow was asked by Carson about the headline story.[52] He disputed the story telling Carson he is just friends with Byrd and an innocent picture was taken and that there is no truth to them being engaged. After he met Byrd, his band gave him a videotape of Debbie Does Dallas as a present for his birthday. Manilow added to Carson that he can't watch his friend doing that.[53] It turned out to be a publicity stunt by Byrd who used Manilow to gain greater fame.

To help with the aftermath of Hurricane Hugo in 1989 which affected the Charleston, South Carolina, area, Manilow held a benefit concert November 12, 1989 at the University of South Carolina's Carolina Coliseum in Columbia, where the $10 tickets sold out in three hours, and asked concertgoers to bring canned food to be donated to residents in disaster areas.[54] Before his concert, Mayor T. Patton Adams named that day "Barry Manilow Day" and Manilow presented the Red Cross and the Salvation Army with checks of $42,500 each.[55]

On February 27, 1992, Manilow was the Master of Ceremonies for friend Elizabeth Taylor's 60th birthday bash at Disneyland in Anaheim, California and sang "I Made It Through the Rain" to Taylor who was accompanied by her eighth husband, Larry Fortensky.[56]

On January 15, 1994, three hours before showtime Manilow abruptly cancelled a concert at the Convention Center in Atlantic City, New Jersey, disappointing thousands of fans who had braved freezing temperatures to see him perform at an Ethnic Pride and Heritage Festival to benefit the Community Foundation of New Jersey as well as United Hospitals Medical Center Foundation and Newark Museum in Newark during the pre-inaugural activities for then New Jersey Governor-elect Christie Whitman. Manilow said in a statement that he was specifically told in writing the concert would be part of a non-partisan event.[57] Donald Trump stepped in and shuffled his entertainment schedule at Trump Plaza and dispatched Paul Anka to substitute for Manilow. The charities went after Manilow for the $200,000 advance he took for the concert which he refunded over a month later.[58] The Trentonian newspaper gave the "Geek of the Week" award to Manilow, and Trump banned him from Atlantic City for a dozen years.

In another headline story, Manilow, on February 8, 1994, sued Los Angeles radio station KBIG (104.3 FM), seeking $13 million in damages and $15 million in punitive damages because their ad was causing irreparable damage to his professional reputation. The ad, a 30-second spot introduced that January 31, suggested that people listen to KBIG because it does not play Manilow's music. The lawsuit, was filed in Orange County Superior Court by Manilow's attorney C. Tucker Cheadle of Hastings, Clayton & Tucker in Los Angeles.[59] Two days later, KBIG/104.3 FM agreed to drop the commercial poking fun at the singer, but a lawyer representing his business interests stopped short of agreeing to withdraw a $28 million lawsuit.[60]

On February 20, 1996, just after noon, Manilow wrecked his 1993 Range Rover in a four-vehicle crash on a rain-slick interstate in Los Angeles while heading to his Bel-Air home.[61] No one was injured in the accident. Manilow, who wasn't hurt, stood on the shoulder of Interstate 5 signing autographs and posing for snapshots until an aide showed up and took him home, his spokeswoman Susan Dubow said.[62]

In March 1996, Manilow had photorefractive keratectomy eye surgery done on one of his eyes.[63] People Weekly, in their June 26, 2000 issue, reported that Manilow had eye surgery done by Los Angeles doctor Robert K. Maloney, but incorrectly stated it was LASIK. Manilow is quoted saying he now connects with the audience instead of "seeing a blur."[64][65] Manilow defended his doctor against comedian Kathy Griffin, who claims Maloney botched her LASIK eye surgery.[66]

In October 1996, it was reported that Manilow sold his gated, two-acre Bel-Air home of 17 years with a recording studio for close to its $2.45 million asking price and was looking to buy another residence in the Los Angeles area. He had multiple offers on the 1950s home of 3,700 square feet with many pathways, a long driveway and city views. It finally went to a local television producer. The nearby Hotel Bel-Air supposedly regularly provided Manilow with room service.[67]

On June 26, 1997, Manilow was diagnosed with bronchitis before a scheduled performance in Austin, Texas, his spokeswoman Susan Dubow said the following day.[68] Four other shows also had to be postponed. Manilow was back on the road that July 8 in Tulsa, Oklahoma. Dubow said this is only the second time in Manilow's career that illness forced him to postpone a performance.[69]

Arizona Court of Appeals Judge Philip Espinosa, in another notable headline story, sued Manilow over the volume of a December 23, 1993 concert he attended with his wife.[70] The judge said in a lawsuit he has had a constant ringing in his ears and nearly blew his ears out. Espinosa sought unspecified damages, and the trial was set for September 23, 1997. The suit also names Manilow's production company, an Arizona concert promoter and the city of Tucson, which runs the convention center where the concert was held. In July 1997, to settle the suit it was reported that Manilow donated $5,000 to American Tinnitus Association, an ear-disorder association.[71]

On May 22, 1999, Manilow was rushed to a Los Angeles hospital after suffering an adverse reaction to dental surgery. According to Manilow's spokesperson Susan Dubow, he spent two days in the hospital with an infected mouth and then was "resting comfortably at home." Since the initial operation in 1986 when Manilow had a benign tumor removed from the roof of his mouth he has had to have minor dental surgery several times over the years. It was following such a procedure that Manilow's mouth became infected, Dubow explained.[72]

In October 2001, Manilow visited Ground Zero in New York City.[73]

On May 28, 2003, Manilow injured his nose in the middle of night when he awoke disoriented and walked into a wall when he returned to his Palm Springs home after spending two weeks in Malibu working on longtime friend Bette Midler's upcoming Rosemary Clooney tribute album. He passed out for four hours after the accident but was OK, his manager said.[74]

On July 29, 2003, Manilow had a complete upper and lower facelift, which includes the removal of drooping skin from the eyelids and the general tightening of facial skin. Manilow was photographed after the surgery with what looked like a surgical wrap under his chin while leaving a plastic surgeon's office wearing a disguise of dark glasses and a blonde wig in the streets of Beverly Hills, California in an effort to escape without recognition.[75]

On January 31, 2004, Manilow was treated for stress-related chest pains during a 24-hour stay at the Desert Regional Medical Center in Palm Springs, California. Manilow was rushed to the hospital after two days of arbitration in a lawsuit where he was fighting to win back the rights to the original stage musical "Harmony" from producer Mark Schwartz. Manilow was diagnosed with an atrial fibrillation. After his heart rate returned to normal, doctors permitted him to return home.[76]

Some fans were unhappy that Manilow, through a Platinum Package, began charging his fans $1,000 each to meet him after concert shows for a meet-and-greet, champagne, photo session and front row seats. The money goes to Manilow's foundation and each participant is only allowed to do this one time. They do keep track..[77]

To help in the aftermath of Hurricane Katrina in 2005, for every US dollar donated by his fans to the American Red Cross through the Manilow Fund for Health and Hope website, Manilow personally matched, and the fund itself also matched, tripling the original donation. The fund delivered $150,000 in less than 48 hours to the American Red Cross, and hoped to raise a grand total of $300,000.[78][79]

Manilow made headlines in June 2006 when Australian officials blasted his music between 9pm until midnight every Friday, Saturday and Sunday to deter gangs of youths from congregating in a residential area late at night.[80] On July 18, 2006, Manilow released a tongue-in-cheek statement saying that the youths might like his music.[81]

On August 29, 2006, Manilow had hip surgery at a Southern California hospital. According to his press release, he tore the labrum (cartilage) in both hips. When the symptoms of extreme pain and discomfort did not go away following preliminary treatment, an MRI arthogram was performed and the labrum tears were discovered.[82]

On September 17, 2007, producers of ABC's The View cancelled a scheduled appearance of Manilow on the show because his reps demanded that Elisabeth Hasselbeck not be on the show during his appearance because of her conservative stance. He stated, "I strongly disagree with her views. I think she's dangerous and offensive. I will not be on the same stage as her."[83] His objections came despite having appeared twice on the show with Hasselbeck the previous year. Many believe that this was prompted by previous The View host Rosie O'Donnell, who is a good friend of Manilow. Both have been involved with gay rights organizations.


Political donations

Manilow has donated money to the presidential campaigns of Hillary Clinton, John Edwards, Barack Obama, Ron Paul, and Joe Biden.[84]
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Reply Tue 17 Jun, 2008 09:04 am
Greg Kinnear
From Wikipedia, the free encyclopedia

Born Gregory Kinnear
June 17, 1963 (1963-06-17) (age 45)
Logansport, Indiana
Spouse(s) Helen Labdon (1999-present) 2 Children
Awards won
Emmy Awards
Daytime Emmy - Outstanding Special Class Program
1995 Talk Soup
Screen Actors Guild Awards
Outstanding Cast - Motion Picture
2006 Little Miss Sunshine
Other Awards
NBR Award for Best Supporting Actor
1997 As Good as It Gets

Gregory "Greg" Kinnear (born June 17, 1963) is an Academy Award-nominated American actor and former television personality, who first rose to stardom as the first host of E!'s Talk Soup.





Biography

Early life

Kinnear was born in Logansport, Indiana, the son of Suzanne, a homemaker, and Edward Kinnear, a career diplomat who worked for the U.S. State Department.[1][2] He has two brothers ?- one named James, Vice President-Investments at Wachovia Securities in Arizona (born in 1957), and one named Steve. As a child, Greg and his family moved around a lot, from places as far as Beirut, Lebanon to Athens, Greece, and was therefore part of a group sometimes referred to as Foreign Service Brats. While a student at the American Community Schools in Athens, Greg first ventured into the role of talk show host with his radio show "School Daze With Greg Kinnear". Returning to the States for a college education, he attended the University of Arizona, where he graduated in 1985 with a degree in broadcast journalism.


Early career

From Arizona, Kinnear headed out to Los Angeles, where he landed his first job as a marketing assistant with Empire Entertainment. Following this job he auditioned to be an MTV VJ, but failed and became a host and on-location reporter for Movietime, the precursor to E! Entertainment Television. In addition, he had bit parts on such television shows as L.A. Law and Life Goes On.


Talk shows

Later, he would host a short-lived game show, College Mad House, which was spun-off from the kids' show, Fun House. After that, he would later become the creator, co-executive producer, and host of Best of the Worst which aired from 1990 to 1991. In 1991 he received his breakthrough when he became the first host of Talk Soup until 1995, when he left the show for the NBC late-night talk show, Later with Greg Kinnear (1994).


Film roles

It was also in 1994 that Kinnear had his first big screen role, as a talk show host yet again in the Damon Wayans comedy Blankman. In 1995 he won the part of the David Larrabee in Sydney Pollack's remake of Billy Wilder's 1954 classic Sabrina. He then received the lead role in the 1996 comedy Dear God. In 1997, Greg was cast in James L. Brooks' blockbuster comedy-drama As Good as It Gets, for which he received an Oscar nomination for Best Supporting Actor. His next film, the romantic comedy A Smile Like Yours, had him starring opposite Lauren Holly as part of a couple trying to have a baby. The film met with lukewarm reviews and a low box office, but his next film, You've Got Mail, struck gold. He played Meg Ryan's significant other, a newspaper columnist wholly unlike what was to be his next character, that of Captain Amazing in the 1999 summer action film Mystery Men. His next films were Nurse Betty, Loser, and Someone Like You.

In 2002, Kinnear starred in the movie Auto Focus about the life and murder of actor Bob Crane. In 2006, Kinnear co-starred with Steve Carell in the Oscar-winning comedy-drama Little Miss Sunshine, and with Mark Wahlberg in Invincible, based on the true story of a bartender who tries out for the Philadelphia Eagles football team. He also appeared in Fast Food Nation, playing a fast food executive who discovers secrets about his company.


Personal life

Kinnear married Helen Labdon in 1999. In 2001, Labdon was seven months pregnant when she suffered a miscarriage with their first child. The couple gave birth to a daughter in 2003, and another daughter in 2006.
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