Sunday, June 15, 2025

FATS DOMINO: AIN'T THAT A SHAME

“Ain’t That a Shame” by Fats Domino is like a rock skipping across a pond, each note creating ripples that dance in the air, tugging at your heartstrings with a playful yet poignant touch. When you hear the unmistakable opening notes, it’s as if a warm summer evening sweeps in, wrapping around you like a beloved old sweater. Domino’s voice, smooth and rich, carries a sense of familiarity that feels like home, yet there’s an ache beneath the surface.

The song’s rhythm is infectious, a swinging beat that invites you to sway along, your feet tapping in time with piano keys gleaming like the sun off a calm lake. And in that delightful groove lies a bittersweet tale—loving someone who doesn’t feel the same way can feel as disorienting as a carousel spinning a little too fast. The melody rises and falls like a gentle wave, echoing the fluctuations of young love, where joy and sorrow intermingle with dizzying precision.

As Fats pours his heart into the lyrics, “Ain’t that a shame,” rolls off his tongue like honey, each word dripping with the kind of regret that’s as sticky as spilled soda on a summer day. You can almost taste the wistfulness in the air, like the hint of rain before a storm. The piano tinkles like laughter and the horns pop out with zest, underscoring that despite the heaviness of lost love, life still carries on in vibrant colors.
It’s a celebration of those moments that linger—the memories that replay in your mind like an old black-and-white film, bittersweet yet beautiful. You can picture the scenes: a lost afternoon at the diner, a soda shared over stolen glances, the exhilaration of a first crush mixing with the heartbreak of reality. Each note is a gentle reminder; even in sadness, there’s joy to be found in the music of your memories.

In “Ain’t That a Shame,” Fats Domino paints a world where love is both a thrill ride and a tumultuous sea, capturing the essence of youthful longing with an authenticity that resonates today. You can’t help but smile through your own feelings as you hum along, enthralled in the ability of music to make sorrow sing, and heartbreak feel like a dance...









Sunday, June 8, 2025

HOLLYWOOD TIDBITS: VICTOR/VICTORIA


The film's screenplay was adapted by Blake Edwards (Julie Andrews' husband) and Hans Hoemburg from the 1933 German film "Viktor und Viktoria" by Reinhold Schünzel. According to Edwards, the screenplay took only one month to write. There was also a 1935 remake named "First a Girl," made in the United Kingdom and directed by Victor Saville, about a woman who stands in for a female impersonator and becomes a hit. Julie Andrews watched the 1933 version to prepare for her role. The film had been planned as early as 1978 with Julie Andrews to star alongside Peter Sellers, but Sellers died in 1980 while Andrews and Blake Edwards were filming "S.O.B." (1981), so Robert Preston was cast in the role of Toddy that originally was envisaged for Sellers.


Reportedly, Andrews struggled with her role in this movie. Andrews has said of this, "There were so many things to be worked out. As someone who likes to be in control, I felt wobbly. There was something else, too. When you get older, you kind of get on to yourself. You know the tricks you play to get by, and you like them less and less if you care about your work. I was trying hard to get away from them, and was sometimes falling back."


The costume worn by Julie Andrews in the number "The Shady Dame from Seville" is in fact the same costume worn by Robert Preston at the end of the film. It was made to fit Preston, and then, using a series of hooks and eyes at the back, it was drawn in tight to fit Andrews' shapely figure. Additional black silk ruffles were also added to the bottom of the garment, to hide the differences in height. The fabric is a black and brown crepe, with fine gold threads woven into it, that when lit appears to have an almost wet look about it. Preston did the final musical number in one take, which explains why he was so clearly out of breath, physically stressed, and sweating profusely during the second half of the number.

Although Edwards' movies garnered numerous Oscar nominations over the years, this was the only time that he received an Academy Award nomination, for Best Screenplay Adapted from Another Medium. However, in 2004, he was awarded an honorary Oscar in recognition of his writing, directing, and producing an extraordinary body of work for the screen...




Thursday, June 5, 2025

BING CROSBY AND BOB HOPE: FRIENDS OR RIVALS?

Bob Hope worked with Bing Crosby for the first time in 1932 at the Capitol Theater in New York. Bing was already a big recording star and Bob was asked to emcee a show that Bing was going to do at the Capitol Theater. They actually, to entertain themselves, they just decided to do some bits together onstage, just some funny, silly little bits together. And they worked so well together — they really loved working together. They then didn't see each other for five years because Bing went back to Hollywood where he was making movies and Bob stayed on Broadway for another five years.

When Bob went out to Hollywood in 1937, he got friendly again with Crosby on the Paramount lot and they became good friends. They entertained together at [the] Del Mar racetrack, where Bing was a part owner and Paramount executives saw their act onstage together and said, "Hey, these guys might work together in a movie."

So they geared up a movie that ended up being called Road to Singapore. This came out in early 1940 and it was just terrific. It was the highest-grossing film for 1940 in a year with a lot of big Hollywood films, and the audience responded instantly to the chemistry of the two of them on-screen together. They were relaxed, informal — they seemed to be friends authentically, not just movie characters. The movie was so much fun that it launched a series.


They were friends and they loved working together, but they were not close friends. They were very different personality types. ... Bob was someone who loved being famous and loved being out there as a star and he loved talking to fans and he was basically a happy guy. Bing was much more ambivalent about his stardom, I think. He was more reclusive. He didn't like the Hollywood scene; he moved up to Northern California halfway through his career. He didn't like showing up at things. There was a famous Friars Club Roast for Bob Hope in the late '40s and every major comedy star — from Milton Berle, George Jessel, etc. — were there. ... And [Bing] didn't show up. I think that bothered Bob a little bit.

I think there was a slight bit of resentment there. I think also Bob envied Bing in the early years, particularly. Bing was more successful and Bing was a smart businessman. Bob learned a lot from him. I think that there was a little bit of a rivalry. Like so many movie pairings, they were great on the screen but offscreen it might have been another story. They were friendly, but when Bing died in 1977, I do not think Bob Hope was one of his close friends, although Bing's wife Kathryn did invite Bob Hope to his funeral. Bing preferred the friendship of Phil Harris. With Harris, Bing could be himself. With Bob Hope, Bob always needed to have an audience and be "on". Bing did not need that...


Sunday, June 1, 2025

THE BOX OFFICE STARS: 1957

 1957 was an interesting time in the movie industry. There were some changes to the top ten list, but here are the top ten movie actors/actresses for the year:





1. Rock Hudson
2. John Wayne
3. Pat Boone
4. Elvis Presley
5. Frank Sinatra
6. Kim Novak
7. Gary Cooper
8. William Holden
9. James Stewart
10. Jerry Lewis



         


Friday, May 30, 2025

RIP: LORETTA SWIT

Loretta Swit, who played Maj. Margaret Houlihan on the TV series "M*A*S*H," has died, a representative for her confirmed to CBS News. She was 87.

Swit died at her home in New York City, her rep, B. Harlan Boll, said in a statement to CBS News on Friday. She was believed to have died of natural causes.

Swit starred on stage and screen, but she was perhaps best known for her long-running role as the head nurse who was a foil to Alan Alda's Capt. Benjamin Franklin "Hawkeye" Pierce on "M*A*S*H," which aired for 11 seasons on CBS, from 1972 to 1983.

Swit won two Emmys for her performances on "M*A*S*H" and was nominated eight other times for her work on the show. She was also nominated for four Golden Globes.

As the show developed and incorporated more dramatic plot lines with the comedic ones, Swit wanted to portray Houlihan as more than the "Hot Lips" nickname her character was given while having an affair with Linville's Burns.

"Loretta Swit's portrayal of Margaret 'Hot Lips' Houlihan was groundbreaking – bringing heart, humor, and strength to one of television comedy's most enduring roles," Journey Gunderson, executive director of the National Comedy Center in Jamestown, New York, said in a statement. "Her talent extended well beyond that iconic character, with acclaimed work on both stage and screen that showcased her intelligence, versatility, and passion."


Apart from her acting career, Swit was an active supporter of animal welfare, serving on the boards of Actors and Others for Animals and The Wildlife Waystation and as a spokesperson for the Humane Society. In 2016, she founded Swit Heart Animal Alliance, a nonprofit dedicated to ending animal cruelty. She used proceeds from her original artwork to raise funds.

In 2019, after a 21-year absence, she returned to the screen in the religious film Play the Flute, about a youth group. Swit was married to actor Dennis Holahan, whom she met on the set of M*A*S*H, from 1983 until their divorce in 1995.

Donations in her memory can be to Actors & Others for Animals or the Swit Heart Animal Alliance, which she set up to protect, rescue, train and care for animals and preserve their habitat. She recently created a fragrance and a necklace, the sales of which supported her efforts...



Wednesday, May 28, 2025

RIP: MARILYN HOWARD - DAUGHTER OF CURLY

Marilyn Howard Ellman, the youngest daughter of The Three Stooges star Curly Howard, died May 6 in Simi Valley of heart failure, her son Bradley Server told The Hollywood Reporter. She was 86.

With her parents divorced and her father often on the road at the height of his career in the early 1940s, Ellman only got to visit him maybe two weekends a month, her son noted. Later, she would spend time with him in the hospital after he had suffered a series of strokes, one of which forced him to leave The Three Stooges in 1946.

“My mom vividly remembers how much he loved animals,” Server said in a 2020 interview. “She would always play with a dog he had. And he absolutely adored this dog that stood by him until the end. You know, despite my grandfather’s big personality onscreen, I learned he was actually a shy, quiet man in private.”

Ellman was just 13 when her dad died at age 48 on Jan. 18, 1952, in San Gabriel, California. Curly had been replaced in the act by brother Shemp Howard, who joined another brother, Moe Howard, and Larry Fine.



Marilyn Howard was born in Los Angeles on Dec. 18, 1938. Her dad — birth name Jerome Lester Horwitz — and mom, Elaine Julia Ackerman, were married for three years before they divorced in 1940. (Curly would have a second daughter named Janie with his fourth wife.)

After Curly’s death, she was adopted by her mother’s second husband, Moe Diamond, when she was 14.

Ellman graduated from North Hollywood High School and attended USC for two years before she worked as a procurement buyer in the electronics business. She would marry twice, and her survivors include her older son, Darren; daughter Andrea; granddaughter Elizabeth; and half-brother Michael...




Tuesday, May 27, 2025

RECENTLY VIEWED: LILO & STITCH

My daughter is my BFF when it comes to going to the movies, and she wanted to see the new live action Lilo & Stitch movie. I wasn't too excited to see it, but I am glad we did! (Although she made us dress in Lilo & Stich themes - see below).

Lilo & Stitch is a 2025 American science fiction comedy film directed by Dean Fleischer Camp and written by Chris Kekaniokalani Bright and Mike Van Waes. Produced by Walt Disney Pictures and Rideback, the film is a live-action animated remake of Disney's 2002 traditionally animated film Lilo & Stitch, with some elements also based on that film's animated sequel films and TV shows. It stars Maia Kealoha in her film debut as Lilo Pelekai, with original Lilo & Stitch writer-director Chris Sanders reprising his voice role as Stitch. Kealoha was officially cast for the movie in 2023 by Disney. It also stars Sydney Elizebeth Agudong, Billy Magnussen, Hannah Waddingham, Courtney B. Vance, and Zach Galifianakis, with original cast members Tia Carrere, Amy Hill, and Jason Scott Lee appearing in different supporting roles.

Lilo & Stitch premiered at the El Capitan Theatre in Los Angeles on May 17, 2025 and was released in the United States by Walt Disney Studios Motion Pictures on May 23, 2025. The film has received mixed reviews from critics and has grossed $341.7 million, becoming the sixth highest-grossing film of 2025. The story of Lilo & Stich is about a lonely girl that longs for a friend. Stitch is an alien that gets exiled on our planet. That is all you really need to know.

This is Disney's second live action movie of 2025, after Snow White. It was so nice to watch a Disney movie with no politics or internal issues. Lilo, played by Maia Kealoha is excellent. I worry about her going down the pathway of countless other child stars, but I would go see her in another movie. I didn't know Zach Galifianakis was going to be in the movie either, but his comedic relief was excellent. Lilo & Stitch is a fun movie that harks back to a time when Disney made fun and non political films. Hopefully, with this movie Disney will be returning to better film making...

MY RATING: 9 out of 10



Sunday, May 25, 2025

THE EARLY YEARS OF ANN MILLER

In 1941, Ann Miller was already a rising star in Hollywood, dazzling audiences with her extraordinary dancing skills and captivating screen presence. Known for her energetic tap dancing, Miller became a staple of the Golden Age of Hollywood musicals. Her journey to stardom began early; she signed her first contract with RKO Pictures at just 13 years old, after lying about her age. By 1941, she was signed to Columbia Pictures, where she appeared in films like Time Out for Rhythm and Reveille with Beverly. These films showcased not only her dancing prowess but also her vibrant personality, which made her an audience favorite. Ann Miller's ability to combine athleticism and grace in her performances helped redefine what it meant to be a female dancer in Hollywood during this era.

The early 1940s marked a transformative period in Hollywood, with Ann Miller contributing to a surge in musical films that lifted spirits during World War II. The genre provided escapism and joy, and stars like Miller were instrumental in its popularity. Known for her incredible speed—reportedly capable of executing 500 taps per minute—Miller brought an unmatched dynamism to the screen. She often performed in elaborate sequences that required not only technical skill but also an unyielding stamina. Alongside contemporaries like Ginger Rogers and Cyd Charisse, Miller became synonymous with the glamour and innovation of 1940s Hollywood musicals. Her appearances in films like Too Many Girls (1940) and Hit Parade of 1941 helped set the stage for her eventual work with MGM, where she would solidify her status as one of the great musical stars.

Ann Miller’s legacy is a testament to the enduring power of talent and determination during Hollywood’s Golden Age. By the late 1940s, she signed with MGM, where she starred in iconic musicals like Easter Parade (1948) and On the Town (1949), often partnering with legends like Gene Kelly and Fred Astaire. While her films are celebrated for their vibrant choreography and grand sets, Miller herself became a symbol of resilience, having overcome personal challenges, including a back injury she sustained as a child. Her contribution to the film industry extended beyond her performances; she was an advocate for the preservation of Hollywood’s history and a proud custodian of its traditions. Today, Ann Miller’s work remains a vital part of the classic Hollywood tapestry, celebrated for its artistry, energy, and undeniable charm...



Wednesday, May 21, 2025

HOLLYWOOD FEUDS: BILL MURRAY AND RICHARD DREYFUSS

The 1993 comedy What About Bob is now considered to be one of Bill Murray's greatest films. Thirty plus years after it came out the film is celebrated now, but the tension and drama on the set was anything but funny then. Director Frank Oz has confirmed in interviews that there was conflict on the set during the making of the film.In addition, both Murray and Dreyfuss have stated in separate interviews that they did not get along with each other during filming:

It's entertaining—everybody knows somebody like that Bob guy. [Richard Dreyfuss and I] didn't get along on the movie particularly, but it worked for the movie. I mean, I drove him nuts, and he encouraged me to drive him nuts.
— Bill Murray, March 19, 1993 interview with Entertainment Weekly

How about it? Funny movie. Terribly unpleasant experience. We didn't get along, me and Bill Murray. But I've got to give it to him: I don't like him, but he makes me laugh even now. I'm also jealous that he's a better golfer than I am. It's a funny movie. No one ever comes up to you and says, "I identify with the patient". They always say, "I have patients like that. I identify with your character". No one ever says that they're willing to identify with the other character.
— Richard Dreyfuss, October 8, 2009 interview with The A.V. Club

Oz himself also verified that there was a feud between Murray and Dreyfuss:

I was just trying to get the best out of both of them. Richard is a very structured person. And I'm not that structured. And Billy is very unstructured. So you have that opposite going also. And as a matter of fact, I just wrote Richard a letter, after all these years, because I was looking at that movie, and I realized how brilliant Richard's work was. But yes, they didn't get along. And in my perverse directorial intent, I was very pleased [laughs]. They're not supposed to get along. It's not that I was simpatico with Bill, but I leaned more towards the ideas that Bill had. But I am so grateful to Richard for his performance.
— Frank Oz, January 28, 2021 interview with Rolling Stone

In subsequent interviews, Dreyfuss reiterated what he said of his experience working with Murray, notably when he appeared at Fan Expo Canada in 2017. Dreyfuss further alleged in 2019 that at one point during the production, Murray screamed at him while intoxicated, telling him "Everyone hates you! You are tolerated!" and then threw an ashtray at him. When Murray appeared on The Howard Stern Show in 2014, Howard Stern asked him if he intended to irritate Dreyfuss. Murray responded: "I really try to make the other actor look good whenever I can (...) In this particular film, annoying Dreyfuss, which I kind of got to enjoy I gotta confess—but I didn't try to annoy him off the screen." Murray also acknowledged in 2025 that he threw a glass at the ceiling and denied throwing it at Dreyfuss. Although neither of them have crossed paths since the release of the film, Dreyfuss confirmed in a 2020 interview that he has forgiven Murray.

Producer Laura Ziskin recalled having a disagreement with Murray that resulted in his tossing her into a lake. Ziskin confirmed in 2003: "Bill also threatened to throw me across the parking lot and then broke my sunglasses and threw them across the parking lot. I was furious and outraged at the time, but having produced a dozen movies, I can safely say it is not common behavior".


In April 2022, following the suspension of the Being Mortal production, Dreyfuss's son Ben tweeted a recollection about Murray's on-set behavior towards his father and Ziskin: "Bill Murray had a meltdown during [What About Bob?] because he wanted an extra day off and Laura said no and he ripped her glasses off her face and my dad complained about his behavior and Bill Murray threw an ashtray at him." Ben also added, "Everyone walked off the production and flew back to L.A. and it only resumed after Disney hired some bodyguards to physically separate my dad and Bill Murray in between takes."

Whatever the issues making the film were, it might have made for a better movie. The actors might not have been on their best behavior, but the film is a classic!


Tuesday, May 20, 2025

RIP: GEORGE WENDT

George Wendt, an American actor and comedian who earned six consecutive Emmy nominations for his performance as Norm Peterson on the beloved NBC comedy series “Cheers,” died Tuesday morning at his home. He was 76.

Wendt’s death was confirmed by his publicist Melissa Nathan with the following statement: “George was a doting family man, a well-loved friend and confidant to all of those lucky enough to have known him. He will be missed forever. The family has requested privacy during this time.”

Originally hailing from Chicago, Wendt earned his degree in economics after traveling in Europe and North Africa as a young man, before returning to the Windy City to enroll in the Second City comedy troupe’s acting workshop, which he performed with from 1974 to 1980. He went on to feature in the NBC comedy pilot Nothing But Comedy, which brought him to Los Angeles and landed him his feature debut with My Bodyguard.

After he found widespread success with Cheers, Wendt went on to star in films like Dreamscape, Fletch, and Ron Howard‘s Gung Ho. Additionally, he starred alongside Robert De Niro and Annette Bening in Guilty By Suspicion, and had roles in the films Forever Young, The Man of the House, and The LoveMaster.

Despite his movie roles, Wendt is still best known for his television work, which, outside of Cheers, included The George Wendt Show on CBS and The Naked Truth on NBC. In recent years, the actor has rarely been seen out and about and he appeared to be in ill-health as he was seen visiting the health centre. George was seen using a wheelchair as he was assisted into a dialysis clinic and spent time in the facility...



Sunday, May 18, 2025

COOKING WITH THE STARS: PAUL NEWMAN

 Here is a tasty recipe that I may want to make from the great actor Paul Newman...



SPICY CHICKEN AND PASTA


Ingredients:

1 tablespoon olive oil
4 cherry peppers
1 onion, cut in bite-sized pieces
1 bell pepper, cut in bite-sized pieces
1 1⁄2lbs boneless chicken breasts, cut in bite-sized pieces
2 garlic cloves, crushed
1(28 ounce) jar tomato and roasted garlic pasta sauce
1lb angel hair pasta

1. Heat a large, deep frying pan over medium heat. 
2. Add olive oil, then add hot cherry peppers, onion and bell pepper. Saute 2 minutes.
3. Add chicken pieces and crushed garlic. Saute 3 or 4 minutes until browned. Add pasta sauce, lower heat and simmer.
4. Meanwhile, cook pasta according to package directions. Drain and put in a serving bowl. Pour chicken and sauce over pasta. Serve with Parmesan cheese.



Thursday, May 15, 2025

THE RETURN OF KING OF THE HILL


Life has changed since "King of the Hill" ended way back in 2009.

Hulu has released the first look of the animated comedy revival from creators Mike Judge and Greg Daniels, and the new poster shows a drone flying a case of Alamo beer into Arlen, Texas.

Hank Hill is back with his longtime pals – Bill, Dale, and Boomhauer – drinking beer in the alley behind Hank's house. Hank and company look slightly older, naturally. His pals are embracing change. Bill is enjoying food deliveries by Mega Lo Eats, while Dale is rocking a virtual reality headset with an Alamo in hand.

Judge reprises his voice roles as propane salesman Hank Hill and fast-talking pal Boomhauer. Kathy Najimy returns as Hank's wife Peggy. Pamela Adlon returns as son Bobby, who now works in a fusion restaurant (a career inspired by weekends spent grilling with his dad).

Stephen Root is back as Bill Dauterive. Johnny Hardwick, the voice of Dale Gribble, died in 2023.

Hulu retweeted the poster with the exclamation, "We are so back!" No official date has been given for the series, which is expected in the summer. Show creators will give more information on May 30 at the "King of the Hill" revival event at Austin's ATX TV Festival. Judge, Daniels and other cast members are expected to attend...

Tuesday, May 13, 2025

A TRIBUTE TO DORIS DAY - SIX YEARS LATER

It amazing that the velvet voice of Doris Day was silenced six years ago today...


Sunday, May 11, 2025

HOLLYWOOD MOM: DEDE BALL

DeDe Ball, born on September 21, 1892, was an unwavering supporter of her daughter, Lucille Ball, who became a television icon. DeDe's dedication to Lucy's career was evident in her constant presence at the live shows, where she proudly occupied her designated spot in the audience. In 1975, DeDe shared her experience with Photoplay Magazine, reminiscing, “Oh, I may have missed one or two if I was ill, or up at Lucille’s condominium in Colorado of late, but I don’t think I’ve missed many. I had my own spot where I sat in the audience, my own cheering section. I’d bring my friends with me, and if they didn’t cheer, they didn’t get home!”

This heartfelt support extended beyond live performances. Even during projects without a live audience, such as the film "Mame," DeDe was a cherished visitor on set, contributing to the warm and familial atmosphere that defined Lucy's work. Her presence provided not just moral support but also a sense of comfort in the demanding world of entertainment.

DeDe’s role in Lucy's life highlights the profound bond between mother and daughter, showcasing the importance of family in the face of fame and success. Lucy often credited her mother's encouragement as a driving force behind her relentless pursuit of her dreams.

The relationship between DeDe and Lucille is a poignant reminder of how foundational support can shape one's journey, particularly in the competitive landscape of Hollywood. Their story continues to resonate, illustrating the power of love and encouragement in achieving greatness. DeDe died in 1977...


Friday, May 9, 2025

HOLLYWOOD MOM: CATHERINE SCORSESE

Catherine Cappa was a native of Little Italy, Manhattan, New York City. Her father worked as a stage coordinator in theatre. By the 1930s, Catherine was working as a machinist in the Garment District. In 1933, she married the actor Luciano Charles "Charlie" Scorsese who was also working in the garment industry at the time. The bride was 21-years-old, while the groom was 20-years-old. The couple had three children, including film director Martin Scorsese.

Scorsese made her film debut in her son's short film "It's Not Just You, Murray!" (1964). She also played maternal roles in "Who's That Knocking at My Door" (1967), "The King of Comedy" (1983), "Easy Money" (1983), "Goodfellas" (1990), and "Casino" (1995). She had bit parts in several other films. She appeared as herself in the documentary "Italianamerican" (1974), about the experiences of Italian American immigrants.

While directing his mother in "Goodfellas" (below), Martin didn't tell her that her character's son had just killed someone, and the body was in the trunk of his car. He only told her that her son was home for dinner, and to cook for them. The dinner scene as Tommy's mother was almost completely improvised, including Joe Pesci as Tommy asking his mother if he could borrow her butcher's knife and Jimmy's "hoof" comment.


The painting that Catherine's character brings out was actually painted by "Wiseguy" author Nicholas Pileggi's mother and is based on a picture from the November 1978 National Geographic.
Catherine often she cooked meals for cast and crew members of her son's films. She was working at the time on her cookbook "Italianamerican: The Scorsese Family Cookbook." It was completed and published in 1996, months before her death. It was her only published work...



Sunday, April 27, 2025

STORY BEHIND THE PHOTO: DORIS DAY

This photo, from circa 1953, depicts a great moment between Doris Day and her song Terry. This was Day's only child with Marty Melcher. Terry was a music producer and songwriter, who had a hit in the 1960s with "Hey Little Cobra" under the name the Rip Chords before becoming a successful producer whose acts included the Byrds, Paul Revere & the Raiders and the Beach Boys. In 1968, Beach Boy Dennis Wilson introduced Melcher to ex-con and aspiring musician Charles Manson, he had picked up hitchhiking Manson family members Patricia Krenwinkel and Ella Jo Bailey. Wilson expressed interest in Manson's music and also recorded two of Manson's songs with the Beach Boys.

For a time, Terry Melcher was interested in recording Manson's music, as well as making a film about the family and their hippie commune existence. Manson met Melcher at 10050 Cielo Drive, the home that Melcher shared with his girlfriend, actress Candice Bergen, and musician Mark Lindsay.. Terry died sadly in 2004, and Day died in 2019...





Tuesday, April 22, 2025

GUEST REVIEW: PIN-UP GIRL

Here is another guest review from a friend I truly miss Bruce Kogan. He is reviewing the light hearted Betty Grable musical - Pin Up Girl...

With the title of Pin Up Girl this film could only star Betty Grable. As the GI favorite in World War II only Rita Hayworth ranked up there with Betty and those legs.

With a plot thin as a Gillette razor blade and a leading man who is the definition of bland Betty and the rest of the talented musical cast carry this one. But make no mistake she's box office draw.

Betty is a USO hostess in Missouri and she and friend Dorothea Kent get the call to serve as typists in the Navy Department. But that's after first going to New York and appearing in Joe E. Brown's nightclub and scoring a big hit. Betty's also a big hit with John Harvey, medal winner from the South Pacific now on shore duty.

But after getting a lecture from another desk bound sailor Eugene Palette, Harvey thinks Betty's just using him as a career booster. So what does Betty do? She puts on a pair of glasses and fools Harvey until the final moments of the film that she's someone else. It does work for Clark Kent and as I remember also for Lynda Carter in Wonder Woman.


But with all those numbers from folks like Martha Raye, Charlie Spivak's Orchestra, the Condos brothers, but most of all Betty who really cares about a truly silly plot. Pin-Up Girl cleaned up at the box office, made a lot of money for Darryl Zanuck and 20th Century Fox.

The last number with Betty drilling the WACS was a thinly disguised attempt to hide her pregnancy. She hated the number and everyone else did including me.

No deep thoughts here, just sheer entertainment...

BRUCE'S RATING: 6 OUT OF 10
MY RATING: 7 OUT OF 10




Saturday, April 19, 2025

MEL BROOKS MEETS CARY GRANT

Aside from his ex-wives, most people really liked Cary Grant. He wasn’t a controversial figure on-screen or off. For nearly five decades, he was the Platonic ideal of what a male movie star should look like. He was suaveness personified. Even Ginger Rogers said he was one of the greatest dancers she ever shared a floor with, and that’s coming from a person who made ten movies with Fred Astaire.

Not everyone in Hollywood was susceptible to his charm, though. Sometime around the late 1950s or early ‘60s, after he’d left the Sid Caesar Show, Mel Brooks was in Hollywood writing a movie. The building he was working in happened to be across the street from Grant’s production company, Granart. He couldn’t believe his luck. The Cary Grant was right next door, and he might even get a chance to see him in person.

One afternoon, Brooks bumped into the actor, and it turned out that the admiration ran both ways. “Mel Brooks,” the North By Northwest star said, “I’ve bought all your albums. You made me poor.” Brooks panicked but managed to strike up a conversation with him. Grant invited him to lunch, and the comedian thought he’d died and gone to heaven.

He remembered thinking it was odd that the actor only ate a hardboiled egg for lunch. They chatted, but the conversation was relegated to the type of small talk that most people – even extroverts – absolutely shudder just thinking about. They discussed their favourite colours (at least in Brooks’s memory). They discussed their favourite cars. For the record, Grant said Rolls Royce, which, if you think about it, was really never a question. They parted ways at their respective buildings, and Brooks assumed that was the end of it.

The next day, Grant called his office and invited him out for lunch again. The process repeated, right down to that single hardboiled egg. The same thing happened the next day. Finally, after a few days of these lunches, Brooks had had enough. The phone rang, and he told his secretary to tell the silver screen legend that he wasn’t there. “I had nothing more to say to him,” he said. “I said my favourite colour. I said my favourite car. There was nothing more to talk about.”

It would have been interesting to have heard Grant’s side of the story. Presumably, he would have had a different perspective on how that friendship blossomed and withered, and he might even have taken issue with the colour Brooks identified as his favourite (yellow). The comedian has told the story many times over the years, including several times on The Johnny Carson Show, but it’s much harder to find instances in which Grant talks about Brooks, positively or otherwise.

He was, it should be noted, not a complete dullard by most accounts. Anyone who has seen any of his movies will notice that he made romantic comedies look easy. He had perfect comic timing and never overplayed his hand as an actor. Even Clint Eastwood was a fan of his work. Sadly, however, it seems that his love for Brooks was unrequited...


Thursday, April 17, 2025

NEW PATSY CLINE RECORDINGS UNEARTHED

Detective work locates dozens of recorded live performances, including 15 songs the late country icon never released.

As improbable as the news may seem, it's true: More than six decades after her much-too-soon death, new music by country legend Patsy Cline is being released!

On Saturday, a limited-edition two-LP set of brand-new recordings will go on sale nationwide in celebration of Record Store Day. The full collection, entitled Imagine That: The Lost Recordings (1954-1963), is also set to be released as a two-CD set next Friday, which is the same day that the digital download will be available.The 48 tracks, all retrieved from live performances, feature 15 never-released songs, as well as new renditions of such iconic Cline classics as “Crazy,” “I Fall to Pieces” and “Walkin’ After Midnight.”

This is no historical footnote, assures Cline discographer George Hewitt. “It’s a dream come true,” says the lifelong collector, who co-produced the project for the Elemental Music/Deep Digs label. Cline’s fans worldwide will be rejoicing over the news, but no one is happier than Julie Fudge, Cline’s daughter, who was just 4 years old when she lost her mother in a private plane crash in 1963.

“It’s just so real,” Fudge, 66, says of the new music. “A lot of people — when you lose someone — you don’t have all these different avenues to remember them. The fact that it’s been more than 60 years and to still have her in our lives every day is quite an accomplishment. It’s been such a blessing."

The older of Cline’s two children, Fudge has been the family’s keeper of the Cline flame for many years. But it’s really been the singer’s enormous fan base who’s done the heaviest lifting to carry forward her musical legacy. Key among them is Hewitt, who oversees the authoritative website dedicated to the Cline catalogue. He also provided the spark for the new record project after a Washington, D.C.-area man reached out to him a couple of years ago seeking more information about a Cline acetate disc he’d found in his parents’ vinyl collection. Each side of the 78-rpm record featured song titles that Hewitt had never heard on any other Cline recording, and as he writes in the album notes, “I nearly jumped out of my skin.”


The discovery quickly inspired him to enlist sound engineer Dylan Utz and producer Zev Feldman in the hunt for more treasure, and their meticulous search dug up far more riches than they had ever anticipated. The three men, joined by Fudge, told their story on Wednesday during a panel discussion held at Grimey’s record store in Nashville. The sources for the album, they explained, were varied: Several derived from the collections of hobbyists, who snagged amateur recordings off original broadcasts. Others were found in the deep recesses of archives and storage vaults. The Grand Ole Opry, for instance, was able to provide four new performances from its collection. All told, the songs span Cline’s entire career and sonically track her rise to fame.

“It really demonstrates how Patsy adapted as an artist and refined her artistry over time and almost reinvented herself in the short period of time she had on this planet,” Hewitt said during the panel discussion.

Among the album’s many highlights are the contents of that original acetate 78, two demos that are now believed to be Cline’s earliest recordings, likely made in September 1954. Though Cline wanted to release Christmas music, she never did, and the new album remedies that. Among its tracks are two holiday favorites, “Let It Snow! Let It Snow! Let It Snow” and “Winter Wonderland,” both duets. Cline never released a duet or other collaboration, and the new album features nine, including one with Cowboy Copas, who perished in the plane crash with Cline (along with fellow Opry star Hawkshaw Hawkins and Cline’s manager, Randy Hughes).

Cline was only 30 years old when the single-engine plane went down in bad weather in a forest outside of Camden, Tennessee, on March 5, 1963. The four, all killed instantly, were on their way home to Nashville from a benefit concert in Kansas City, Kansas; Hughes was at the controls...




Sunday, April 13, 2025

WHAT A CHARACTER: LAWANDA PAGE

LaWanda Page, was born Alberta Peal, was born on  October 19, 1920.. Best known for her role as Aunt Esther in the popular 1970s television sitcom Sanford and Son. She later reprised this role in the television shows Sanford Arms and Sanford.
 
LaWanda Page and Redd Foxx, who portrayed Fred Sanford, were very close friends from the time they were pre-teens, having attended school and growing up together in St. Louis. Eventually, both entered the field of comedy separately and performed their own stage acts. During her tenure as a stand-up comic, a career she continued into the 1990s, she often was billed as "The Queen of Comedy" or "The Black Queen of Comedy".

Page recorded several live comedy albums for the Laff Records label in the late 1960s and early 1970s under her LaWanda Page stage name. Other than the relatively clean Sane Advice album, released two years after the run of Sanford and Son, Page's albums and stand-up material was raunchy blue comedy in nature. She was one of the few women who performed extended spoken word pieces in the black signifying or toasting tradition.

One release, a gold-selling album called Watch It, Sucker!, was titled after one of her Aunt Esther character's catchphrases in order to capitalize on her newfound television fame.


On Sanford and Son, Aunt Esther was the sister of Fred Sanford's late wife Elizabeth. Page had been performing her comedy routine in nightclubs in St. Louis and then Los Angeles for several years, but had planned to leave show business to move back to St. Louis to take care of her ailing mother. When Redd Foxx was offered a sitcom in Los Angeles, he brought his childhood friend Page to the attention to one of the show's producers, who was already familiar with Page and her act. Foxx subsequently asked Page to read for the role of Aunt Esther; she auditioned and was offered the role. However, prior to taping, producers became concerned when Page, whose experience was limited primarily to nightclub stages, seemed to have difficulty working in a sitcom format. Eventually, one of Sanford and Son's producers told Foxx that Page would need to be fired and that another actor would need to be cast before the show could begin taping. Foxx responded by insisting that Page keep the part, even threatening to walk away from the show if Page were fired. The producers relented, and Page's Aunt Esther went on to become one of the most popular TV sitcom characters of the 1970s.


Page's Aunt Esther was a combination of devout churchgoer and tough-as-nails realist, unafraid to state whatever was on her mind. While her relationship with Foxx's character Fred Sanford was usually confrontational, she betrayed a tender side through her love of her nephew Lamont. Common issues between brother- and sister-in-law were his lack of business success and his lukewarm religious faith. Sometimes, primarily because of their shared love for Lamont and the late Elizabeth, the two adversaries managed to find common ground. Although "Sanford and Son" was clearly Foxx's vehicle, Page's Aunt Esther could hold her own against the show's star. (Ironically, the church-going Esther was a great contrast to the raunchy, expletive-filled material of Page's live act and records.)

In the early 1990s she appeared on several tracks of the debut album by RuPaul entitled Supermodel of the World, most notably the hit song "Supermodel (You Better Work)." She also appeared in several music videos from the album. Shortly before her death she appeared in a series of comical Church's Chicken television commercials featuring the catchphrase "Gotta love it!"

Page died of complications from diabetes on September 14, 2002. She is interred in an outdoor crypt at Inglewood Park Cemetery in Inglewood, California.Her daughter, the evangelist Clara Estella Roberta Johnson, died on June 4, 2006, in Los Angeles, California, at the age of 69...