When this photo feature appeared in the March, 1954 issue of Pageant Magazine, Danish comedian / pianist Victor Borge was a just a few months in to his 2½-year run of 849 performances on Broadway with his one-man show, Comedy In Music.
◀ (click on images to read enlarged text in a new window)
In 'Smörgås Borge', photographer Martin Iger captured Mr. Borge's visual reactions to various queries.
Seems like Mr. Iger may have drawn some influence from Philippe Halsman's 'The Frenchman', a 1949 book using a similar concept for portraits of French film star Fernandel.
- Go to the Wikipedia entry for assorted links and tribute sites.
- Be sure to visit The Victor Borge Collection at Internet Archive. They've gathered over two dozen fine audio recordings to enjoy, including excerpts from Comedy In Music, and his famous routines 'Inflationary Language' and 'Phonetic Punctuation'.
In the early 1970s, record producer-promoter-song writer Jerry Ross tried on another hat, releasing a few records of lightly progressive pop and smoothed-out covers of rock hits, all crafted to be palatable for airplay on easy-listening radio stations.
This single release from early 1971 featured the theme from The Twelve Chairs, the second feature-length Mel Brooks film, released the previous autumn.
In collaboration with his long-time 'house' composer John Morris, Mel's lyrics to the song are as timeless as ever...
Hope for the best, expect the worst Some drink champagne, some die of thirst No way of knowing Which way it’s going Hope for the best, expect the worst!
Hope for the best, expect the worst The world’s a stage, we’re unrehearsed Some reach the top, friends, while others drop, friends Hope for the best, expect the worst!
I knew a man who saved a fortune that was splendid Then he died the day he’d planned to go and spend it Shouting “Live while you’re alive! No one will survive!” Life is sorrow - - here today and gone tomorrow Live while you’re alive, no one will survive - - there’s no guarantee
Hope for the best, expect the worst You could be Tolstoy or Fannie Hurst You take your chances, there are no answers Hope for the best expect the worst!
I knew a man who saved a fortune that was splendid Then he died the day he’d planned to go and spend it Shouting “Live while you’re alive! No one will survive!” Life is funny - - Spend your money! Spend your money! Live while you’re alive, no one will survive - - there’s no guarantee
Hope for the best, expect the worst The rich are blessed, the poor are cursed That is a fact, friends, the deck is stacked, friends
Hope for the best, expect the – - (even with a good beginning, it’s not certain that you’re winning, even with the best of chances, they can kick you in the pantses) Look out for the - - watch out for the worst! Hey!
Jerry Ross (not to be confused with an older showbiz Jerry Ross, the musical theater composer of Damn Yankees and The Pajama Game) had been a DJ and radio & TV announcer in Philadelphia in the late 1950s before becoming a record promoter there.
Branching off into composing and producing records, he also discovered teenage singer Kenneth Gamble. Ross managed Gamble's career and was instrumental in teaming him with keyboardist Leon Huff.
The three collaborated as songwriters for several years before Gamble and Huff went on to huge fame as a team, writing and producing records, and helping to pioneer the 'Philly Soul' sound .
Ross went to New York in 1965 when he was hired as an A&R man by Mercury Records, where he soon had great success with acts like Jay & The Techniques, Spanky & Our Gang, Dee Dee Warwick, Jerry Butler, Keith, and Bobby Hebb.
Ross had also founded his own small record label, Heritage, in the early 1960s, releasing music by some of his Philadelphia acts. He revived the label in 1968 after leaving Mercury, and put out records by Bill Deal and the Rhondels, Cherry People and The Duprees, among others.
When a distribution deal with MGM ended around 1970, Ross went abroad to seek European distribution for the now independent Heritage label. While visiting Amsterdam he was taken with the Dutch music scene, and was able to secure the North American distribution rights for several acts.
Never one to put eggs in one basket, one function of his 'Jerry Ross Symposium' records was to provide MOR cover versions of hit songs by artists on his labels.
See also: - Fellow music biz maven Artie Wayne interviews Jerry Ross at Spectropop.
- As of this writing, the second Jerry Ross Symposium LP (with arrangements by Claus Ogerman) can be found at fullundie.
Chuck Sagle was the arranger / conductor on this single. As a bandleader, Sagle released a number of 'space-age pop' records in the '50s and '60s, often under his 'Carl Stevens' alias.
The Symposium performs the sentimental theme to the 1970 film First Love, written by Don Black and composer Mark London, who'd previously collaborated on 'To Sir With Love' in 1967.
Oscar-winner Don Black was the lyricist on many successful movie theme songs - - He worked with composer John Barry on 'Born Free' and several of the James Bond themes, including 'Thunderball' and 'Diamonds Are Forever', and he wrote Michael Jackson's hit, 'Ben' with Walter Scharf in 1972.
Another early 1970s photo-feature (below) from the pages of the Brit movie magazine Film And Filming, this time from the March, 1971 issue.
The film is 'Percy', a racy & ribald comedy fairly typical of the era, starring Hywel Bennett as the recipient of the first-ever penis transplant.
(click on images to engorge in a new window)
Co-starring Denholm Elliott, Elke Sommer and Britt Ekland, 'Percy' was for many years a notable curiosity, known primarily for its soundtrack by The Kinks, their final album recorded for the Pye record label.
Both the soundtrack and the film itself were out-of-print rarities for many years, and so became much sought-after, each in their own way - - though in the case of the film itself, the general consensus has been that maybe it's best to remain curious, rather than actually viewing the thing...
Regardless of any of Percy's shortcomings, it didn't deter the filmmakers from coming back with a sequel, 'Percy's Progress' (a.k.a. 'It's Not the Size That Counts'), in 1974.
Hywel Bennett bowed out the second time around, but Elke Sommer and Denholm Elliott were back to reprise their roles, joined by no less than Vincent Price and Barry 'Dame Edna' Humphries.
Like a lizard atop a wooden stump, there's a new link posted to a new 'I'm Learning To Share' podcast, and it's parked over near the top of the lovely brown sidebar.
Parked, basking in the summer heat, sitting still and quiet until someone like you comes along to nudge it - - - - Or to hear an interesting batch of music.
It's possible that not enough people are still talking about actress / singer Judy Canova, and maybe that situation can change...
While lying awake late the other night, unable to sleep again, as often happens in that situation I pulled my laptop close to me and dialed up the Old Time Radio library at Internet Archive. Wanting a break from my customary late-night streaming of old Jack Benny shows or Fibber McGee & Molly, this time I stumbled onto their stash of 1940s episodes of The Judy Canova Show.
The realization soon came to me that perhaps there hasn't been enough Judy Canova in my life.
Sure, I knew of her - - I could recognize the comedienne from old photos, remembered a bit about her country cornball schtick and its context - - But in hearing her vintage radio comedy, it dawned on me that I'd not actually witnessed much of her in performance over the years, and certainly not in a long while.
You are encouraged to investigate the The Judy Canova Show for yourself. (follow link)
As of this writing, The Internet Archive has almost three dozen episodes available for listening, dating from 1943 to 1948.
The half-hour radio sitcom revolves around Judy, playing 'herself' as an uncultured bumpkin uprooted to Hollywood life as a popular actress and singer. Broad but gentle humor that still engages, despite its dated or non-PC moments.
The supporting cast includes Ruby Dandridge (mother of Dorothy Dandridge) as Geranium, the maid, and Mel Blanc as Pedro, the Mexican gardener / chauffeur, speaking with the same comic accent he'd use occasionally on The Jack Benny Program that would eventually evolve into the cartoon voice of Speedy Gonzales. (Not surprisingly, Blanc also doubles for other character voices and sound effects)
In the episodes I've heard so far, I recognized voices of radio veteran Verna Felton, as well as Sheldon Leonard. Great voices!
The program ran for twelve years, first airing on CBS in 1943 on Tuesday nights, before moving to Sunday nights on NBC in 1945. Other cast members during the show's run included Hans Conried, Joseph Kearns and Gale Gordon (the latter two who, among other roles, would both go on in later years to play Mr. Wilson opposite Jay North's 'Dennis The Menace' on television).
Prior to her own show on radio, Judy Canova (1913 - 1983) had made regular appearances on many radio programs during the 1930's, most notably The Chase & Sanborn Hour with Edgar Bergen and Charlie McCarthy.
She'd also had several supporting roles in films during that time, while working as a contract player for Warner Bros. and Paramount.
Her show business career had begun while still a teenager in Florida, performing in a singing trio with her sister, Anne, and older brother, Zeke. The vaudeville circuit led them from Florida to New York, where 'The Three Georgia Crackers' were 'discovered' by singer Rudy Valee.
Radio, stage and film appearances soon followed, eventually paring the act down to a solo.
Though Judy had originally intended to pursue a more serious singing career, her talent and personality mixed with her unconventional looks to type-cast her into a good-natured yokel persona that she honed during the vaudeville years and played to perfection for decades following.
Below, ▼ appearing in a scene with her siblings in the 1937 film 'Artists & Models', it's easy to see why she stood out...
- Follow this link to the Turner Classic Movies website to view Judy singing in a bathtub scene from the same film, before sharing dialogue with a young Ida Lupino.
Though 'Hillbilly Humor' was nothing new, there's a quality to Judy Canova (including and beyond the 'hick' factor) that can be seen in the performances of comediennes who followed after her in the 1940s, '50s and beyond, from Minnie Pearl and Dorothy Shay, to Lucille Ball and Carol Burnett.
In 1940, Judy Canova was offered a movie contract by Republic Pictures.
'Scatterbrain' provided her first leading role, and she would star in 17 films in fifteen years while working for Republic.
It was the popularity of those 'B-movies' that helped to land her the radio series, which led her to greater popularity than her films.
(click on images to enlarge in a new window)
Below, ▼ a 1941 publicity shot (via Flickr) shows Canova posing with fellow Republic Pictures star, actor Tom Tyler, decked out for the adventure film serial Adventures of Captain Marvel, the very first film adaptation of a comic book super-hero.
Speaking of comic books, Judy starred in just a few issues of her own, published by Fox Comics in 1950.
Below left, ▼ issue #3 features cover art by (then soon-to-be) comics legends Wally Wood and Joe Orlando, just prior to their heyday producing artwork for EC Comics.
Radio, film and numerous records made for RCA-Victor and other labels made Canova a star throughout the 1940s and early '50s, as did a business sense that belied her standard performance persona.
Her contract with Republic Pictures ceased in 1955, the same year that her radio show ended.
Judy did transition to TV in the '50s, but through numerous guest appearances rather than starring vehicles. In addition, nightclub appearances and theatrical stage roles filled out the rest of her performance career, throughout the 1960s and into the '70s.
Below, ▼ In Hollywood with Liberace on 'The Colgate Comedy Hour', November 11, 1952. (via LIFE Magazine)
◀ At left, Judy Canova at age 65, attending the National Film Society convention, May 1979, accompanied by her daughter, actress Diana Canova, Diana's partner, actor Steve Landesberg, and (on the right) Landesberg's mother. (Photo by Alan Light, click on image to enlarge in a new window)
UPDATE, 6.25.09: Big, big thanks to Matt for sending along a nice note that included 4 of his favorite tracks from an old 10-inch LP, 'Favorite Songs of Judy Canova'.
Sad but not terribly surprising, none of Judy's music is currently in print, at least here in the U.S. - -
- - And these great western-swingy tracks that Matt has provided weren't included on the last readily available CD collections of her work, so that makes them an extra-special treat for all of us!
Thanks for sharing, Matt! It's kinda like Xmas or something...
The magazine articles below spotlighted a pair of British films that have largely remained underappreciated in the many years since their release.
The two-part gritty Rock & Roll fable helped to propel actor / singer David Essex to super-stardom in the U.K.
Released in 1973 and set in the late 1950s and early '60s (and featuring plenty of great period music), 'That'll Be The Day' tells the story of young Jim McClain, who yearns for a glamorous life beyond the dead-end existence in which he lives.
The movie co-starred Ringo Starr (looking just right in Teddy Boy finery) as Jim's friend, Mike. Also featured in the cast were 'genuine' musicians, singer Billy Fury and The Who's Keith Moon.
David Essex had his breakout success as a stage performer in 1971, when he starred in the London cast production of 'Godspell'.
During production of 'That'll Be The Day', Essex wrote his song 'Rock On', envisioning it for use in the film's soundtrack. After the song was rejected for the movie, he recorded and released a version that became a huge chart hit. 'Rock On' subsequently was added to the end credits of the American release of 'That'll Be The Day'.
The magazine piece below ▼ appeared in the May, 1973 issue of Films and Filming. (click on images to enlarge in a new window)
In the 1974 sequel, 'Stardust', McClain's Rock & Roll dreams are realized in the late 1960s and early '70s, but the accompanying hazards of fame and excess cause his life to implode.
Ringo Starr opted out of the second film, the role of Mike (now McClain's manager) taken over by British pop star Adam Faith.
Keith Moon returned to reprise his role, and performed on the soundtrack as a member of The Stray Cats, McClain's band in the film. Also appearing and performing in the band was Dave Edmunds, who'd had his earliest solo hits a couple of years prior, following his departure from Love Sculpture. Edmunds' efforts in the film and on the soundtrack helped lead him further into his career as a record producer. In a curious coincidence, Edmunds would go on to produce the first singles and albums by the 'other' Stray Cats, Brian Setzer's rockabilly revival group, in the early '80s.
Edmunds also spins some good stories about the perils of 'being taken under Keith Moon's wing' during production.
Here's the second LP by Ira Ironstrings; The name was a pseudonym used on a string of albums recorded by bandleader / guitar innovator Alvino Rey.
In the earliest days of Warner Bros. Records, the label had something of an 'anything goes' attitude while they were establishing themselves.
Alvino Rey was brother-in-law to WB exec Jim Conkling, and had the idea for recording campy, light-hearted (though not quite 'novelty') hi-fi Dixieland music.
The pseudonym was used because Rey was still under contract to Capitol Records, but the name and the mystery around it added to the fun.
Produced and arranged by Warren Barker, the quality of the music surpassed many expectations.
As part of the label's initial round of releases, the first album ('Ira Ironstrings Plays for People with $3.98') sold surprisingly well.
From the LP 'Ira Ironstrings Plays: With Matches' (Warner Bros. Records, 1959), Listen to:
Horlicks malted milk powder is still popular in India and a few other parts of the world, but in the U.K. and the U.S. has mostly become a fond memory, a 'comfort food' relic of a bygone era.
In the 1870s, brothers William & James Horlick had emigrated from England and were manufacturing their milk drink as an artificial food for infants, and soon established a large factory in Racine, Wisconsin.
By the early part of the 20th century, Horlicks (then spelled as Horlick's) was well-established internationally (including an early foothold in India), though in the U.S. it was outsold by its rival, Ovaltine.
Whether touted as a sleep-aid, a 'restorative', or nutrition supplement, Horlicks was used in interesting ways as an advertising sponsor over the years, associating itself at different times with radio programs like 'Lum and Abner' or in films with George Pal's animated Puppetoons or even by sending along crates of their product on a few polar expeditions.
More bits and pieces of Horlicks history (including the name standing in as a milder substitute for the British profanity 'bollocks') can be found via the Horlicks Wikipedia entry...
Maybe you can help me to remember more about this old movie, or point towards a way to see it again - - ?
This is a film that I haven't seen in something like 35 or more years. Several times since then I've wanted to watch it again, and I'm very curious if it's even half as entertaining as I remember it.
'Omicron' is an Italian science-fiction comedy that was first released in 1963.
It was directed by Ugo Gregoretti and starred Renato Salvatori as an alien being who's come to Earth and is inhabiting the body of a dead factory worker. The alien (Omicron) is an advance scout for an invasion force, here to learn about humans and our way of life.
Until finding a few images (mostly here) I've seen very little mention of this movie over the course of several decades of 'film buffery'. Whatever happened to it?
My memories are a little dim. I saw it a couple times on TV when I was a kid, which means it probably aired on a weekend afternoon on a local station. It probably also means that the version I saw was dubbed into english.
- - And as this was all so long ago, it could likely mean that it's really not as good as what I'm remembering.
I recall Omicron being able to do everything very quickly. Lots of racing around at top speed to comedic effect. Omicron sitting down with a stack of books, flipping through the pages and quickly reacting with laughter and tears as he absorbs the text. Omicron smoking entire cigarettes in one quick draw.
The few small descriptions of the film that I've found corroborate the vague memory that much of the story's draw comes from familiar 'fish out of water' formulas that we're accustomed to seeing anytime a naive outsider character is confronted with the complications and hypocrisy of modern life.
Omicron at work, Omicron falling in love, Omicron learning what it is to be human.
Over the years I've flashed on this film while viewing things like 'Starman', or 'Brother From Another Planet', or 'K-PAX' or even the sitcom '3rd Rock From The Sun'. You know what I'm talking about.
Other assorted review snippets (and broken translations) about 'Omicron' mention the political backdrop of its humor, specific to Italy in the '60s and specific to the plotline of the resurrected factory worker becoming involved in a labor dispute. Perhaps this has something to do with the film being so hard to find now? Maybe it hasn't aged well?
Is there a good reason that it's not available on video?
I also recall 'Omicron' having some sort of fun "The End - - or is it?"-type of ending, always a good sign in an old sci-fi movie, if you ask me.
What can you tell me about 'Omicron'? Researching it isn't easy when there seems to be so little information available and you don't read Italian.
I'd love to hear from anyone who remembers this movie, especially if you've seen it more recently than the early 1970s. Is there something there? Should I see it again - - and hey, where/how would I do that?
A lifetime of movies, cartoons, records, comics, bad teevee and lots of other ephemera 'n' junk has left me happily unfit for a normal life in the real world. - - And so here I am. Good to see you're here also! Welcome!
The In Crowd podcasts...
If the mood starts out worrisome, never fear - -
- - There's not energy enough to sustain the darkness for too very long.
Gloom dissipates! Enjoy!
Click on the link to listen to
an In Crowd 07/09 podcast (posted for a very limited time)
Sound files and other material you may encounter here are only made available for a limited time (as are we all), are assumed to be out of print or otherwise not readily available in these parts, and are meant for educational and entertainment purposes only - - Y'know, for FUN - - and NOT with any intent towards profit or copyright violation. However, I'm ready and eager to immediately remove any potentially infringing posting if it will avoid a hassle or hurt feelings. Please e-mail me if you feel your toes are being stepped on, and I'll happily rectify the situation.
When this photo feature appeared in the March, 1954 issue of Pageant Magazine, Danish comedian / pianist Victor Borge was a just a few months in to his 2½-year run of 849 performances on Broadway with his one-man show, Comedy In Music.
▲ (click on images to read enlarged text in a new window)
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