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WA2K Radio is now on the air

 
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 05:29 pm
Ah, dj. I was just joking around with you. I knew you didn't write that little big of doggerel.

Nonsense verse is funny, however:

Little Willie in the best of sashes,
Fell in the fire and was burned to ashes.
By and by the room grew chilly,
But no one liked to poke up Willie.

I didn't write that one, either. <smile>
0 Replies
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 05:36 pm
Ah, yes, dj. I know that. It's

GLADLY THE CROSS-EYED BEAR.

Or Gladly the cross I'd bear.

Well, folks, since we are on this kick.

A child came home from Sunday school and told her mother that she had finally learned God's name.

Her mom was a bit puzzled and asked how she had found it out.

The child responded:

It said so in the prayer. Our father who art in heaven, Howard be thy name. Razz
0 Replies
 
djjd62
 
  1  
Reply Tue 21 Mar, 2006 05:44 pm
correct, and for your prize, a song

obviously this tune doesn't apply to you, but it's harry connick jr. and it doesn't get much better than that

If I Only Had A Brain
Harry Connick, Jr.

I could while away the hours
Conferrin with the flowers
Consultin with the rain
And my head I'd be scratchin
While my thoughts were busy hatchin
If I only had a brain

I'd unravel any riddle
For any individd-el
In trouble or in pain
With the thoughts I'd be thinkin
I could be another Lincoln
If I only had a brain

Oh, I could tell you why
The ocean's near the shore
I could think of things I never thunk before
And then I'd sit and think some more

I would not be just a nothin
My head all full of stuffin
My heart all full of pain
Perhaps I deserve you
And be even worthy erve you
If I only had
If I only had a brain
0 Replies
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 05:49 pm
I'm glad of that, dear Canada.

And the tin woodman wanted a heart, as well.

speaking of hearts, listeners. Here's a lovely song.

And this one is for you, dj:

DIANA KRALL LYRICS

"I Get Along Without You Very Well"

I get along without you very well
Of course I do
Except when soft rains fall
And drip from leaves, then I recall
The thrill of being sheltered in your arms
Of course, I do
But I get along without you very well

I've forgotten you just like I should
Of course I have
Except to hear your name
Or someone's laugh that is the same
But I've forgotten you just like I should

What a guy, what a fool am I
To think my breaking heart could kid the moon
What's in store? Should I phone once more?
No, it's best that I stick to my tune

I get along without you very well
Of course I do
Except perhaps in spring
But I should never think of spring
For that would surely break my heart in two
0 Replies
 
djjd62
 
  1  
Reply Tue 21 Mar, 2006 05:53 pm
flushd has started a country music thread in the music forum

here's a recent country tune i kinda like

Awful, Beautiful Life
Darryl Worley

I woke up early with a poundin' in my head
I'd been out the night before with all my friends
A little worried, kinda wonderin' what I did
I said, " Lord, please forgive me for my sins."
My wife wanted to kill me, but she tried to save me first
"You're goin' if I have to drag your butt to church."

I love this crazy, tragic,
Sometimes almost magic,
Awful, beautiful life

I read the hymns and kinda sorta sang along
And made it through the Sunday sermon wide awake
We met the family for dinner at our home
Drank some beer, watched a game, and cooked some steaks
My little brother had a big fight with his wife
And my poor mother sat between'em both all night

I love this crazy, tragic,
Sometimes almost magic,
Awful, beautiful life

We said a prayer for Cousin Michael in Iraq
We're all aware that he may never make it back
We talked about the way we missed his stupid jokes
And how he loved to be a soldier more than most

I laid in bed that night and thought about the day
And how my life is like a roller coaster ride
The ups and downs and crazy turns along the way
It'll throw you off if you don't hold on tight
You can't really smile until you've shed some tears
I could die today or I might live on for years

I love this crazy, tragic,
Sometimes almost magic,
Awful, beautiful life

I love this crazy, tragic,
Sometimes almost magic,
Awful, beautiful life

Alright
It's a beautiful life
Awful, beautiful, life
I love this life
It's a beautiful life
0 Replies
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 06:39 pm
Right, dj. I put a country song on that thread, and although I have played this one before, I'm playing it again, folks:

- Barbara Mandrell and George Jones - I Was Country When Country Wasn't Cool Lyrics

I remember wearin' straight leg Levis
Flannel shirts Even when they weren't in style
I remember singin' with Roy Rogers
at the movies when the West was really wild

And I was listenin' to the Opry
When all of my friends
were diggin' Rock 'n Roll and Rhythm & Blues
I was Country, when Country wasn't cool

I remember circlin' the drive-in,
pullin' up and turnin' down George Jones
I remember when no one was lookin'
I was puttin' peanuts in my Coke

I took a lot of kiddin'
'Cause I never did fit in
now look at everybody
tryin' to be what I was then

I was Country, when Country wasn't cool
Oooh

(Chorus:)
I was Country, when Country wasn't cool
I was Country, from my hat down to my boots
I still act, and look the same
What you see ain't nothin' new

I was Country, when Country wasn't cool

(Instrumental Break)

They call us country bumpkins
For stickin' to our roots
I'm just glad we're in a country
Where we're all free to choose

I was Country, when Country wasn't cool

(George Jones)
Hey I was Country, when Country wasn't cool
Yeah I was country, from my hat down to, Whoa my boots
I still act, and look the same
What you see ain't nothin' new

Yeah, I was Country when Country wasn't cool
0 Replies
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 07:18 pm
How about a little travel music, listeners:


`twas on the isle of capri that I found her
Beneath the shade of an old walnut tree
Oh, I can still see the flow'rs bloomin' round her
Where we met on the isle of capri

She was as sweet as a rose at the dawning
But somehow fate hadn't meant her for me
And though I sailed with the tide in the morning
Still my heart's on the isle of capri

Summertime was nearly over
Blue Italian sky above
I said "lady, I'm a rover,
Can you spare a sweet word of love? "

She whispered softly "it's best not to linger"
And then as I kissed her hand I could see
She wore a plain golden ring on her finger
'twas goodbye to the villa capri
0 Replies
 
Letty
 
  1  
Reply Tue 21 Mar, 2006 08:34 pm
Speaking of traveling, folks. I need to walk a couple of steps to the left and go to bed.

Let this be my goodnight song and this version is from Stevie Wonder:



Did you say I've got a lot to learn?
Well, don't think I'm trying not to learn
Since this is the perfect spot to learn
Teach me tonight

Starting with the ABC of it
Right down to the XYZ of it
Help me solve the mystery of it
Teach me tonight

The sky's a blackboard high above you
If a shooting star goes by
I'll use that star to write "I love you"
1000 times across the sky

One thing isn't very clear, my love
Should the teacher stand so near, my love?
Graduation's almost here, my love
Teach me tonight

From Letty with love
0 Replies
 
NickFun
 
  1  
Reply Tue 21 Mar, 2006 08:49 pm
A wonderful song! Pleasant dreams Letty!
0 Replies
 
McTag
 
  1  
Reply Wed 22 Mar, 2006 12:03 am
djjd62 wrote:
no i didn't write it, i just remember hearing it as a kid, probably from my father who loved nonsense poems and songs


As I was going up the stair
I met a man who wasn't there
He wasn't there again today
I wish that man would go away
0 Replies
 
McTag
 
  1  
Reply Wed 22 Mar, 2006 12:07 am
Letty wrote:
Ah, yes, dj. I know that. It's

GLADLY THE CROSS-EYED BEAR.

Or Gladly the cross I'd bear.



I thought the answer to the question was going to be no-eye deer, or "No Idea"
0 Replies
 
Letty
 
  1  
Reply Wed 22 Mar, 2006 05:18 am
Good morning, WA2K listeners and fans.

Hey, Nick, Stevie is a wonder, right?

McTag, you are a wonderment, Brit, but that little bit of verse is very unusual, and I have often wondered about it.

My word, folks, how many different ways can we say wonder and wander?

How about a morning song by a man of light:

GORDON LIGHTFOOT Song Lyrics

East Of Midnight
(From the album "EAST OF MIDNIGHT")

Put me somewhere east of midnight
West of the turnpike
Anywhere I wander is where I'll take my rest
As I lie down, toss some thoughts around
Dreams I'm told will come true if you
Believe in those who love you right now
Sea of dreams I long for you
Forget about the others
This is my hike, you can come if you like
To feel good, I would help you if I could
But I am out here searching
For the things that might have been
I need no more reminders
Not one love letter have I seen
And that's a pretty good start
The ocean is where lovers meet again
Sea of dreams by all means
Float me out of danger until then
Forever amen

It's a long long hike
We'll be leavin' early travelin' light
That's alright Heaven will be ours tonight

The road is paved with moonbeams
There are faces that I knew
They all came back to haunt me
But that ain't fair to the folks like me and you
It takes a bit of my heart
Tonight I shall be watching from the shore
Sea of dreams from now on
Forget about all the others
Back where the line forms
Destination sea of storms
By all means ever onward sea of dreams

Put me somewhere east of midnight
Along about daylight
Anywhere I wander is where I'll take my rest
If we could just lie down
Toss some thoughts around
It's a tough and a dirty long hike
You can come if you like
If we could just lie down
Toss some thoughts around.
0 Replies
 
edgarblythe
 
  1  
Reply Wed 22 Mar, 2006 05:48 am
Comanche - Johnny Horton

The battle was over at Custer's last stand
And taps were sounding for all the brave men
While one lone survivor wounded and weak
Comanche the Brave Horse laid at the General's feet
Comanche you fought hard Comanche you tried
You were a good soldier so hold your head up high
For even the greatest sometimes must fall Comanche the Brave Horse you gave your all

Though you are silent your deeds did speak loud
If your buddies could see you I know they'd be proud
The symbol of bravery at the Little Big Horn
Poor old Comanche your battle scarred and worn

Comanche you fought hard...
Comanche you fought hard...
0 Replies
 
edgarblythe
 
  1  
Reply Wed 22 Mar, 2006 06:20 am
Well I went outta fishin' to make a little mon
To take to Cajun Leena so we could have some fun
On the way back I knocked a hole in my bow
I got a hole in my pirogue I can't go see no gal
(chorus)
The prettiest sight that you ever have seen some moonlite night down in New Orleans
I'm up the river just around the bend
I got a hole in my pirogue I just can't haul it in
[ guitar ]
Cajun Leena's waitin' with tears in her eyes, munchin' and a cruchin' on a crawfish pie
I can smell the file' floatin' through the air
I got a hole in my pirogue I can't go see my chere
The prettiest sight...
[ guitar ]
Yeah I'm here on the bayou sittin' all alone
With a busted bottom and I can't haul it home
Cajun Leena's waitin' lonesome as can be
I got a hole in my pirogue I can't go see my she
The prettiest sight...
0 Replies
 
Letty
 
  1  
Reply Wed 22 Mar, 2006 06:24 am
Hey, Texas. That's an interesting song, buddy, thanks for playing it.

Just read where Johnny Horton was killed in a car accident, and was referred to as the "singing fisherman." It is truly a boon to know the background of a vocalist, folks, and what a surprise to find out that he married Hank Williams' widow. Sheeeeeze.

Incidentally, way back in our archives I remember saying something about John Travolta and his first appearance on TV. It was Welcome Back Cotter, and I think that show will be revived with Ice-T in the role of Gabe Kaplan.

Incidentally, what's a pirogue? Isn't that some sort of bayou dug out canoe?
0 Replies
 
Raggedyaggie
 
  1  
Reply Wed 22 Mar, 2006 11:31 am
Yep, I see a canoe, canoo?

Two great contemporary composers are celebrating birthdays today.

Happy 76th to Stephen Sondheim and 58th to Andrew Lloyd Weber. (I know if Bob visits the station today he will post their bios.)

http://www.artistdirect.com/Images/Sources/AMGPORTRAITS/music/portrait200/drp100/p168/p16830sqs6n.jpghttp://www.jayrecords.com/recordings/alittlenight/Night.jpg

http://www.cinemusic.pe.kr/bbs/data/ost/1103366860/phantom.jpghttp://www.verzamelgids.nl/nieuws/2005/entertainment/jan/week03/%27lloyd%2Bwebber%2Bwil%2Bbedrijf%2Bverkopen%27/184/fotocrop.01-19-2005.0009.jpg
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 22 Mar, 2006 11:43 am
Louis L'Amour
From Wikipedia, the free encyclopedia


Louis L'Amour (March 22, 1908 - June 10, 1988) was an American author of (primarily) Western fiction (see also Frontier, Western movie, and Wild West).

He was born Louis Dearborn LaMoore of French-Canadian background March 22, 1908 in Jamestown, North Dakota. The last of seven children to a veterinarian father and a teacher mother, Louis was an avid reader as a child. In the early 1920s, his parents decided to pack up the family and find better economic conditions. When he was 15, he got separated from his family in the American southwest and began to work a string of diverse jobs, which gave him ideas for his fiction. He continued to be an itinerant worker, traveling the world, up to the start of WWII. In the 1930s he began to sell stories to pulp magazines. After serving in WWII, he continued to write stories for magazines. In the 1950s, he began to sell novels. He eventually wrote more than 100 novels, selling more than 225 million copies that were translated into dozens of languages and made into 30 motion pictures. He wrote The Ferguson Rifle (see Ferguson rifle).

Many criticise the Western genre, but he considered himself "just a storyteller, a guy with a seat by the campfire," and at least once related that after he died, he only wanted to be remembered as a good storyteller. Given the fantastic success of his writings, the fate seems secure.

In 1982 he won the Congressional (National) Gold Medal, and in 1984 the Medal of Freedom. Louis L'Amour is a recipient of the state of North Dakota's Roughrider Award.

Louis L'Amour died on June 10, 1988 and was buried in the Forest Lawn Memorial Park Cemetery in Glendale, California. His autobiography detailing his years as an itinerant worker in the west, Education of a Wandering Man, was published posthumously in 1989.

http://en.wikipedia.org/wiki/Louis_L%27Amour
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 22 Mar, 2006 11:46 am
Karl Malden
From Wikipedia, the free encyclopedia

Karl Malden (born on March 22, 1912) is an Oscar-winning American actor, known for his bulbous nose and expansive manner who starred in both films, A Streetcar Named Desire and On the Waterfront, with the late Marlon Brando. He also starred in another blockbuster movie, Patton, before his best-known role was for playing Lt. Mike Stone on the popular 1970s crime drama, The Streets of San Francisco.

Early life

Malden was born as Mladen Sekulovich in Gary, Indiana, to a Serbian father, Petar Sekulovich, who left San Francisco, California in 1910, to move to Eastern Indiana, where he worked as a factory worker in the steel mills, and Minnie Sevarian, a Czech mother, who was a seamstress. The Sekulovich family roots trace back to the city of Bileća in Herzegovina. He also grew up with his 2 younger brothers in Eastern Europe and in Mexico. As a youth, he would joined the Carol George Choir where he would sing and would bash in his performances with his father. In high school, he was proven to be a popular student, as he would be the star of the school's basketball team, participated in the Drama Department, and was even elected, Class President. After his graduation from Emerson High School in 1931, with higher grades, he wanted to leave his native Gary, Indiana, to move someplace else, like Arkansas, where he would get a sports scholarship at a college. But during the depression, upon his arrival in Arkansas, the college rejected him; and had no choice other than to go back to his hometown. That same year (up until 1934), he would work as a factory worker in the steel mills, just like his father did.


Stage Work and Education

Late in 1934, when he arrived in Chicago, Illinois, he heard of the play Juno of the Payback as he jumped the chance to join his first stage production play. That decision proved to be the best moved for Malden after he decided to leave his native, Gary, Indiana, once and for all. When he moved there, he had barely enough money in his pocket which had held him up just to attend the Kenneth Sawyer Goldman Memorial Theatre. He worshipped and loved the school that he would put out a series of plays he acted in. Feeling like the oldest student that he was, he came from a working-class family. He graduated from college in 1937, but soon after, despite of low money he had in his pocket, once again, Malden had no choice other than to head back to Gary, Indiana, again.

Film career before and after World War II

His miserable life at his hometown would come to an end as he traveled to New York City, and was finding some more appropriate plays for the city. He first appeared as an actor on Broadway in 1937, then did some radio work, before becoming a movie character actor in 1940, where his first film was They Knew What They Wanted (1940). He also attended the Group Theatre where he began acting in many plays and was introduced by a young Elia Kazan, who would soon work with him on (A Streetcar Named Desire (1951) and On the Waterfront (1954). His acting career was interrupted by World War II and Malden served as a noncommissioned officer the US 8th Air Force. While in the War, he was offered a small and important role in Winged Victory (1944). After the war in 1945, he resumed his acting career, receiving yet another small role in the play, Truckline Cafe, with a young, unfamiliar actor, Marlon Brando. Jobs were getting harder to find for him as he was in his mid-30s and was about to give up. He received a co-starring role in the play, All My Sons with the help of director, Elia Kazan. With that success, he would then transfer into movies.

Film career

Malden has resumed his film acting career in the 1950s, starting with The Gunfighter (1950), the following year, he starred in A Streetcar Named Desire (1951), where he played a card-playing friend of Stanley's, On the Waterfront (1954), where he played a priest who must testify their mob bosses. In Baby Doll (1956), he played a powerhungry sexual man who had been interfered by a teenaged wife. When that movie was in theaters, the Catholic Churches thought it was a sin; as Malden would be the star of his own family, in real-life. Before and after he arrived in Hollywood, he starred in dozens of films of the late 1950s to the early 1970s, such as, Fear Strikes Out (1957), Pollyanna (1960), Birdman of Alcatraz (1962), How the West Was Won (1962), The Cincinnati Kid (1965), and Patton (1970) (playing Gen Omar Bradley). On this film, he played an officer who had an injured brother, in real-life, which proved to be the blockbuster movie of 1970, after all the movies he starred in (A Streetcar Named Desire and On the Waterfront). After his last film, Summertime Killer (1972), movies were getting harder to find, however, he also starred in the television movie The Hijacking of the Achille Lauro (1989) (as wheelchair-bound senior citizen Leon Klinghoffer).


Television work


The Streets of San Francisco

After years of starring in films and in stage work, he was looking for a producer to help Malden get a successful TV series, and Quinn Martin was kind enough for Malden to star in a 2 hr. movie The Streets of San Francisco, in which he played veteran widowed police officer, Detective Lt. Mike Stone. However, in order for him to have a TV series of the same name, he would look for a young actor in the acting family whose father is an actor like Malden. Since the early 1930s, Malden would act in a New York summer stock with a teenaged Kirk Douglas and hired Kirk's son and future movie star, Michael Douglas to play plainclothes detective, Inspector Steve Keller, a man who graduated from college and was starting to work for his boss in this popular 1970s crime drama. The chemistry of Malden and Douglas were a hit. In its first season in 1972, it was a ratings winner among many other 1970s police series, and Malden's own catch-phrase to co-star's Michael Douglas's, "Buddy Boy" have been heard frequently. He was nominated for an Emmy twice in 1976 and 1977 for Outstanding Lead Actor in a Drama Series and he was also nominated for a Golden Globe in 1976, but didn't win. During the show's fourth season in 1976, his co-star Michael Douglas had left the show to produce the movie One Flew Over the Cuckoo's Nest, and was replaced by Richard Hatch, and ratings continued to take a nosedive that season. After a 5 season run in 1977, ABC had canceled the show.


After Streets

He tried getting another hit series, Skag, but unlike his role on Streets, it was less successful and was cancelled in 1980. In 1987, he also tried hosting the popular mystery series, Unsolved Mysteries, but lost the part to Robert Stack.


American Express

He famously delivered the line "Don't leave home without it!" in a series of US television commercials for American Express in the 1970s and 1980s.


Awards

Karl Malden won the 1951 Academy Award for Best Supporting Actor for A Streetcar Named Desire and was nominated in 1954 for his supporting tole in On the Waterfront. Karl Malden is a past president of the Academy of Motion Picture Arts and Sciences. In October of 2003, Malden was named the 40th recipient of the Screen Actors Guild's Life Achievement Award for career achievement and humanitarian accomplishment.

Karl Malden inspired the newsgroup alt.fan.karl-malden.nose.

Private life

Malden has been married to Mona Graham since December 18, 1938. Their marriage is the second longest in Hollywood history. Bob Hope's sixty-nine year marriage to Dolores Reade, which lasted from February 19, 1934 until his death on July 27, 2003, is the longest.

http://en.wikipedia.org/wiki/Karl_Malden
0 Replies
 
bobsmythhawk
 
  1  
Reply Wed 22 Mar, 2006 11:48 am
Marcel Marceau
From Wikipedia, the free encyclopedia

Marcel Marceau (born March 22, 1923) is a well-known mime and among the most popular representatives of this art form world-wide.

He was born Marcel Mangel in Strasbourg, France. After having seen Charlie Chaplin, he became interested in acting and from 1946 on he studied at the Sarah Bernhardt Theatre in Paris with teachers like Charles Dullin and Étienne Decroux (who was also the teacher of Jean-Louis Barrault).

At 15, his Jewish family was forced to flee their home as France entered the Second World War. He later joined Charles De Gaulle's Free French Forces and, because of his excellent English, worked as a liaison officer with General Patton's army.

In 1946, he enrolled as a student in Charles Dullin's School of Dramatic Art in the Sarah Bernhardt Theatre in Paris, where he studied with the great master, Etienne Decroux, who had also taught Jean-Louis Barrault. The latter noticed Marceau's exceptional talent, made him a member of his company, and cast him in the role of Arlequin in the pantomime entitled Baptiste - which Barrault himself had interpreted in the world famous film Les Enfants du Paradis. Marceau's performance won him such acclaim that he was encouraged to present his first "mimodrama", called "Praxitele and the Golden Fish," at the Bernhardt Theatre that same year. The acclaim was so unanimous that Marceau's career as a mime was firmly established.

In 1947, Marceau created "Bip", the clown who in his striped pullover and battered, deflowered opera hat, has become his alter-ego, even as Chaplin's "Little Tramp" became that star's personality. Bip's misadventures with everything from butterflies to lions, on ships and trains, in dance-halls or restaurants, are limitless.

As a style pantomime, Marceau has been acknowledged without peer. His silent exercises, which include such classic works at The Cage, Walking Against the Wind, The Mask Maker, and In The Park, and satires on everything from sculptors to matadors, have been described as works of genius. Of his summation of the ages of man in the famous Youth, Maturity, Old Age and Death, one critic said, "He accomplishes in less than two minutes what most novelists can not do in volumes."

In 1949, following his receipt of the renowned Deburau Prize (established as a memorial to the 19th century mime master Jean-Gaspard Deburau) for his second mimodrama, "Death before Dawn," Marceau formed his Compagnie de Mime Marcel Marceau - the only company of pantomime in the world at the time. The ensemble played the leading Paris theaters - Le Theatre des Champs-Elyees, Le Theatre de la Renaissance, and the Sarah Bernhardt, as well as other playhouses throughout the world. During the 1959-60, a retrospective of his mimodramas, including the famous Overcoat by Gogol, ran for a full year at the Amibigu Theatre in Paris. He has produced 15 other mimodramas, including Pierrot de Montmartre, The 3 Wigs, The Pawn Shop, 14th July, The Wolf of Tsu Ku Mi, Paris Cries--Paris Laughs, and Don Juan - adapted from the Spanish writer Tirso de Molina.

He first toured the United States in 1955-56, close on the heels of his North American debut at the Stratford (Ontario) Festival. After his opening engagement at the Phoenix Theater in New York, which received rave reviews, he moved to the larger Barrymore Theater to accommodate the public demand. This first US tour ended with a record breaking return to standing room only crowds in San Francisco, Chicago, Washington, Philadelphia, Los Angeles and other major cities. His extensive transcontinental tours have included South America, Africa, Australia, China, Japan, South East Asia, Russia and Europe.

Marceau's art has become familiar to millions of Americans through his many television appearances. His first television performance as a star performer on the Max Liebman Show of Shows won him the television industry's coveted Emmy award. He appeared on the BBC as Scrooge in A Christmas Carol in 1973. He was a favorite guest of Johnny Carson, Merv Griffin, Mike Douglas and Dinah Shore, and he also had his own one-man show entitled "Meet Marcel Marceau."

He has also shown his versatility in motion pictures, such as First Class in which he portrayed 17 different roles, Shanks where he combined his silent art, playing a deaf and mute puppeteer, and his speaking talent, as a mad scientist, and Mel Brooks' Silent Movie (see below). A further example of Marceau's multiple talents was the mimodrama Candide, which he created for the Ballet company of the Hamburg Opera. He directed this work and also performed the title role.

Children have been delighted by his highly acclaimed Marcel Marceau Alphabet Book and Marcel Marceau Counting Book. Other publications of Marceau's poetry and illustrations include his La ballade de Paris et du Monde, which he wrote in 1966, and The Story of Bip, written and illustrated by Marceau and published by Harper and Row. In 1982 The Third Eye, his collection of ten lithographs, was published in Paris with an accompanying text by Marceau. Belfond of Paris published Pimporello in 1987.

The French Government has conferred upon Marceau its highest honor, making him an "Officier de la Legion d'Honneur," and in 1978 he received the Medaille Vermeil de la Ville de Paris. In November of 1998, President Chirac named Marceau a Grand Officer of the Order of Merit; and he is an elected member of the Academy of Fine Arts in Berlin, the Academy of Fine Arts in Munich, the Academie des Beaux Arts France and the Institut de France. The City of Paris awarded him a grant, which enabled him to reopen his International School, which offers a three-year curriculum.

Marceau holds honorary doctorates from Ohio State University, Linfield College, Princeton University, and the University of Michigan - America's way of honoring Marceau's creation of a new art form, inherited from an old tradition.

In 2000, Marceau brought his full mime company to New York City for presentation of his new mimodrama, The Bowler Hat, previously seen in Paris, London, Tokyo, Taipei, Caracas, Santo Domingo, Valencia (Venezuela) and Munich. Since 1999, when Marceau returned with his classic solo show to New York and San Francisco after 15-year absences for critically-acclaimed sold out runs, his career in America has enjoyed a remarkable renaissance with strong appeal to a third generation. He has recently appeared for extended engagements at such legendary American theaters as The Ford's Theatre in Washington, DC, the American Repertory Theatre in Cambridge, MA, and the Geffen Playhouse in Los Angeles, to overwhelming acclaim, demonstrating the timeless appeal of the work and the mastery of this unique artist.

Marceau accepted the honor and responsibilities of serving as Goodwill Ambassador for the United Nations Second World Assembly on Aging, which took place in Madrid, Spain, in April, 2002. That same year, a new photo book for children titled "Bip in a Book," published by Stewart, Tabori & Chang, appeared in the bookstores in the US, France and Australia. Marceau's new full company production Les Contes Fantastiques (Fantasy Tales) opened to great acclaim at the Theatre Antoine in Paris.

He was married three times and has four children. He is unrelated to Bond girl Sophie Marceau; both simply have selected the same stage name.

In 1947, he performed for the very first time as Bip The Clown, his tragicomic figure with silk dented hat and red flower, signifying the fragility of life. This has become his most famous character. In his career, he performed all over the world in order to spread the "art of silence" (L'art du silence).

He appeared in several films including the 1968 film Barbarella and appeared as himself to speak the only word ("Non") in the 1976 Mel Brooks comedy film, Silent Movie.

In 1978, he established his own school in Paris: "École Internationale de Mimodrame de Paris, Marcel Marceau" (International school of Mimodrame of Paris, Marcel Marceau). In 1996, he established the Marceau Foundation to promote mime in the United States.

In 1982, Marceau's collection of original paintings "Le Troisième Oeil, (The Third Eye)" was published, accompanied by a poem of the same name, written by Marceau.

In 1995, famous postmodern artist Michael Jackson and his friend Marceau choreographed common concert for HBO, but the project was frozen at the stage of rehearsals, never being completed because of singer's illness at the time.

In 1999, the city of New York declared March 18 Marcel Marceau Day.

His last world tour covered the United States in 2004 and returned to Europe in 2005.

http://en.wikipedia.org/wiki/Marcel_Marceau
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Stephen Sondheim
From Wikipedia, the free encyclopedia


Stephen Joshua Sondheim (born March 22, 1930) is an American musical theater lyricist and composer.


Early life

Stephen Sondheim was born to a Jewish family in New York City and grew up on the Upper West Side of Manhattan and later on a farm in Pennsylvania. An only child of well-to-do parents living in a high-rise apartment on Central Park West, Sondheim's childhood has been described as isolated and emotionally neglected. His parents, Herbert and Janet "Foxy" Sondheim, were non-religious Jews.

While Foxy had grown up in an Orthodox family, Sondheim had no formal religious education or association, did not have a Bar Mitzvah, and reportedly did not set foot in a synagogue until he was 19. In 1950, he graduated magna cum laude from Williams College in Williamstown, Massachusetts.

When Stephen was 10 years old, his father Herbert, always a somewhat distant figure, abandoned Stephen and his mother. This traumatic event had major repercussions on Sondheim's private life and was later reflected in Into The Woods. Under the laws of the day, Sondheim's mother retained full custody, which was perhaps unfortunate for her son; Foxy Sondheim was narcissistic, emotionally abusive, and a hypochondriac. After the departure of her husband, she became sexually predatory towards her son as a substitute for his absent father: she would suggestively lower her blouse or spread her legs in front of him, she would lounge about and absently ask him to make her drinks, she would hold his hand and stare at him through the entirety of a Broadway show.

Many have speculated that it was this early intense love/hate relationship with his monstrous mother that would re-emerge in many of Sondheim's later works, which often treat love and commitment as claustrophobic and smothering, most notably in his musical Company.

Perhaps also as a result of his relationship with his mother, Sondheim would become known for giving words and music to a series of strong, manipulative, somewhat unstable female characters, including Madame Rose in Gypsy, Mrs. Lovett in Sweeney Todd, and the Witch in Into the Woods, all of whom are obsessive about keeping a hold on their child or lover.

Career

At about the age of ten, around the time of his parents' divorce, Sondheim became friends with Jimmy Hammerstein, son of the well-known lyricist and playwright Oscar Hammerstein II. Hammerstein became a surrogate father to Sondheim, as the young man attempted to stay away from home as much as possible. To say that Hammerstein was an influence on Sondheim is to make a gross understatement; if Oscar had been a geologist, Sondheim observed later in life, he probably would have become one too. During high school, Sondheim had the chance to write a farcical musical based on the goings-on of his school, entitled By George. It was a major success among his peers, and it inflated the young songwriter's ego considerably; he took it to Hammerstein, and asked him to evaluate it as though he had no knowledge of its author. The next day Sondheim came back. Hammerstein hated it. "But if you want to know why it's terrible," Hammerstein consoled the young man, "I'll tell you."

Thus began one of the most famous apprenticeships in the musical theatre, as Hammerstein designed a kind of course for Sondheim to take on the construction of a musical. This training centered around four assignments, which Sondheim was to write. These were:

* A musical based on a play he admired (which became All That Glitters)
* A musical based on a play he thought was flawed (which became High Tor)
* A musical based on an existing novel or short story not previously dramatized (which became the unfinished Mary Poppins)
* An original musical (which became Climb High)

None of these "assignment" musicals were produced professionally. High Tor and Mary Poppins have never been produced at all, because the rights holders for the original works refused to grant permission for a musical to be made -- besides, Mary Poppins was never even finished.

Sondheim went on to study composition with the composer Milton Babbitt. Popular lore says that Sondheim would not allow Babbitt to teach him the Twelve-tone technique, but it was in fact the opposite. In Mark Eden Horowitz's Sondheim on Music, Sondheim says that when he asked Babbitt if he could study atonality, Babbitt replied "No, I don't think you've exhausted your tonal resources yet." Sondheim agreed, and despite charges made by some of his critics, his music is consistently tonal.

In 1954, he wrote both music and lyrics for Saturday Night, which was never produced on Broadway and was shelved until a 1997 production at London's Bridewell Theatre.In 1998 Saturday Night received a professional recording, followed by an Off-Broadway run in 2000. His big break came at the age of 25 when Sondheim wrote the lyrics to West Side Story, accompanying Leonard Bernstein's music and Arthur Laurents's book. In 1959 he wrote the lyrics to the musical Gypsy, with music by Jule Styne and a book again by Laurents. Finally in 1962 Sondheim saw a musical for which he wrote both the music and lyrics, A Funny Thing Happened on the Way to the Forum, open on Broadway. His next musical, Anyone Can Whistle (1964), was a 9-performance flop, although it introduced Angela Lansbury to musical theatre and has developed a cult following. In 1965 he donned his lyricist-for-hire hat for one last show, Do I Hear a Waltz?, with music by Richard Rodgers - the one project he claims he regrets doing. Since then Sondheim has devoted himself to both composing and writing lyrics for a series of highly varied and adventuresome musicals, beginning with the innovative concept musical Company in 1970.

Sondheim's work is notable for his use of complex polyphony in the vocal parts, such as the chorus of five minor characters who function as a sort of "Greek Chorus" in 1973's A Little Night Music. He also displays a penchant for angular harmonies and intricate melodies reminiscent of his hero, Bach (he once claimed that he listens to no one else). To aficionados, Sondheim's musical sophistication is considered to be greater than that of many of his musical theater peers, and his lyrics are likewise renowned for their ambiguity ("Send In The Clowns"), wit ("Buddy's Blues") and urbanity ("The Little Things You Do Together"); he employs various literary techniques and devices that make his writing more akin to poetry than Tin Pan Alley. His lyrics are often intricately crafted, like a puzzle where every piece has a precise placement. An avid fan of games, in 1968 and 1969 Sondheim published an astonishingly inventive series of word puzzles in New York magazine. These crossword puzzles were models of form and creativity, and started the rise of cryptic crosswords in the United States.

Unlike composers of the Broadway's Golden Age, Sondheim doesn't write songs that that are designed to stand alone, apart for the show, with the potential to become Top 40 hits. He writes what is necessary for the character who's singing, usually to advance the plot and/or reveal more about the character. Thus, it was somewhat of a surprise when "Send in the Clowns," a song whose lyric is cryptic apart from the context of A Little Night Music, became a hit for Judy Collins. Although it was Sondheim's only Top 40 hit, his songs are frequently performed and recorded by cabaret artists and theatre singers in their solo careers.

Sondheim collaborated with producer/director Harold Prince on six distinctive musicals between 1970 and 1981. Company (1970) was a concept musical featuring a series of scenes rather than a traditional plot. Follies (1971) was an extravagant production filled with pastiche songs echoing styles of composers from earlier decades, and book songs in Sondheim's voice. A Little Night Music (1973) was one of his greatest successes, with each song composed in a variation of waltz time. Pacific Overtures (1976) was the most non-traditional of the Sondheim-Prince collaborations, a intellectual exploration of the westernization of Japan. Sweeney Todd (1979), arguably Sondheim's greatest score, once again explores an unlikely topic, this time murderous revenge and cannabalism.

Merrily We Roll Along (1981) is Sondheim's most traditional score and held potential to generate some hit songs (Frank Sinatra and Carly Simon each recorded a different song from the show). Sondheim's music director, Paul Gemignani, said, "Part of Steve's ability is this extraordinary versatility." Merrily, however, was a 16-performance flop. "Merrily did not work, but its score endures. Sondheim had set out to write traditional songs… But after that there is nothing ordinary about the music." The failure of Merrily greatly affected Sondheim. He was ready to quit theater and do movies or create video games or write mysteries. He was later quoted as saying, "I wanted to find something to satisfy myself that does not involve Broadway and dealing with all those people who hate me and hate Hal." With the demise of Merrily, the Sondheim-Prince collaboration came to an end until the two reunited for Bounce (2003), which was mounted in Chicago and Washington, DC. Unfortunately, Bounce proved disappointing and never reached Broadway.

Instead of quitting the theater following the failure of Merrily, Sondheim decided "that there are better places to start a show." Sondheim found a new collaborator in the "artsy" James Lapine. Lapine has a taste "for the avant-garde and for visually oriented theater in particular." Sunday in the Park with George (1985), their first collaboration, was very much the avant-garde, but they had blended it together with the professionalism of the commercial theater to make a different kind of musical. Sondheim again was able to show his versatility and his adaptability. His music took on the style of the artist Georges Seurat's painting techniques. In doing so, Sondheim was able to bring his work to another level. "Sondheim's work has such reach, there is so much emotional resonance, that many observers take it personally and become as fascinated with the artist as with the art; they see him in his work." The Sondheim-Lapine collabration also produced the popular fairy-tale show Into the Woods (1987) and the rhapsodic Passion (1994).

Regarded by some as the anti-Andrew Lloyd Webber, Sondheim is nevertheless no stranger to popular as well as critical success. In 1985, he won the Pulitzer Prize in Drama for Sunday in the Park with George, one of the few times that a musical has taken the award. Although Sunday took the Pulitzer, Jerry Herman's more traditional La Cage Aux Folles beat out Sunday to win Tony Awards for Best Musical and Best Score.

Evaluating his own work, Sondheim asserts that Gypsy is one of the greatest musicals written in the Rodgers & Hammerstein mode. As for his songs, Sondheim cites "Someone in a Tree," from Pacific Overtures as his favorite with "The Miller's Son" from A Little Night Music a close second.

http://en.wikipedia.org/wiki/Stephen_Sondheim
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