LET MUSIC FILL THE AIR!

Daily Prompt: Groupthink 

by michelle w. on February 2, 2014

Photographers, artists, poets: show us a GROUP.

I didn’t think I could do better than my original post on this prompt, so here it is again. Not all acts bear repeating. This is one of them.

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Nothing I can think of more represents “group think” in a positive way than does an orchestra and choir. Here, people coöperate, play their parts in a carefully arranged order. Anyone who plays or sings out-of-order will ruin the harmony, destroy the beauty of the whole. For me, a concert represents human society at its finest.

Working together, all focussed on the success of the group without regard for individual attention. Anyone who has ever worked in a troupe of performers, whether it be dance, music, song or drama understands that coöperation, coördination and putting the welfare of the group ahead of individual achievement is tantamount to success … and how great it feels when it all comes together.

Group think doesn’t necessarily mean the loss of ones individuality, but can mean the subordination of ones talent to create something far greater than any individual could do alone. Let there be music!

Often considered the most beautiful melody ever written — there’s to my mind a good deal of competition in this category, but it is wonderful — this is the finale to Beethoven’s 9th Symphony, “Ode to Joy.” Orchestra and chorus, together to make a truly joyous noise!

RADIO DAYS – WMEX

We were on Fireside, WMEX in Quincy, Massachusetts. Hosted by Jim Callahan and his beautiful (in every way) wife, producer, and co-host Nancy, we had a great time. Lots of laughter. Garry had the opportunity to tell a whole bunch of his celebrity anecdotes to a new audience and he sparkled, as always.

Again, he heard the familiar refrain: “You should write a book!”

He really should.

All the pictures were taken with the Pentax Q7 and (mostly) the f2.8 5-15mm “standard” zoom.

A HALF HOUR RADIO SHOW

See on Scoop.itBooks, Writing, and Reviews

This site hosts the original broadcasts of the cult radio comedy show “A Half Hour Radio Show,” syndicated around the US in the early 1990’s.

Marilyn Armstrong‘s insight:

When I was in college, I worked at the radio station. The people I met there included two husbands and almost all the people I call friends today. Sometimes, I was part of this show. I wrote some stuff, did voices on and bits. Hung around, heckled, made suggestions, joined in when another body was needed.

It was the biggest hit our little college station ever had. We were young, silly, and frequently stoned. Since then, the show’s producer, Tom Curley,  has put it through, many iterations, refined and rewrote it. After all these years, it’s still funny. You don’t waste funny.

Welcome to my fondest remembered past, the audio time capsule of my youth. From when the world and I were young …

The Show Must Go On

See on captclerk.podbean.com

STAGE AND SCREEN’S ROYAL FAMILY: THE BARRYMORES

Drew Barrymore by David Shankbone

Drew Barrymore by David Shankbone

Drew Barrymore has been working regularly on Turner Classic movies with Robert Osborne, discussing and introducing classic movies. Her face has changed in recent years. Now she looks like a Barrymore.

John Barrymore as Hamlet, 1922

John Barrymore as Hamlet, 1922

That’s no small thing because she is this generation’s only representative of what is the longest running act in show business.

Several families have two or three generations of actors and a couple of families have three or more generations of directors. Only one has been on stage and screen for more than 100 years, the royal family of stage and screen, the Barrymores.

As of this writing, Drew Barrymore is her generation’s only working actor. John Drew, Diana, Drew, and John Blyth are the only descendants of John Barrymore who became actors.

Garry and I were trying to guess how many acting dynasties include at least three generations, in which at least one family member in each generation has done something noteworthy as an actor. Not as a director, producer, or writer. Only actors.

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Define “noteworthy” please!

It started when we noticed a Capra listed as a crew member of an NCIS episode. Garry wondered if this was a fourth generation of Capras. There was a Frank Capra I, II and III, so it seemed likely to be members of the same family. The Capras are directors. No actors, so they don’t count for the purposes of this post.

Reality shows do not count. Non-speaking and cameo roles do not count, nor does work as a TV announcer, talk show host, or sportscaster. Mere celebrity does not count. Only acting.

The Barrymore genealogy is complicated because it is extensive. There have many marriages and a slew of children. Most of the men in the family are named John, which doesn’t make it easier to follow the trail.

Other acting families are even more confusing. Actors marry each other, divorce frequently, and have children by many partners. They adopt and raise children from former marriages and from spouses’ former relationships. It’s hard to keep track and sometimes, relationships intertwine to such a degree it’s impossible to say to which family a particular person belongs. Not unlike European royal families.

If you count only acting families — and only family members who have had a real acting careers — the number of entries in the field are manageable. You’ll quite a few 2-generation families. A handful of 3-generation families.

Only one family has four generations of working actors.

The Barrymore family.

Barrymore family tree graphic

A very simplified Barrymore family tree

Drew Barrymore is the family’s current representative.There are many other family members, but none are acting, as of this writing. It doesn’t mean they or their offspring won’t enter the family business in the future. It’s quite a legacy. Talk about family pressure.

If you want to see the other families, or at least most of them, you can look them up. Google “multi-generational acting families“. Wikipedia has a good write-up, but omits significant British families.

This link takes you to an alphabetical list of show business families. The intricacies of the marriages, divorces and resulting complex relationships will make your head spin.

The Barrymore family reigns. No other family comes near the prominence or longevity of this family of actors.

Wikipedia’s entry on the Barrymores includes actors and non-actors. There are quite a few family members who are not in show business. The acting family members are in blue.

OLD BLUE EYES AND THE KID – GARRY ARMSTRONG

I was still a kid, working at the college radio station in Hempstead, New York. I was a little older than the other kids, because I was recently back from my short stint in the Marine Corps. I don’t remember who provided my entrée for that interview, but I remember the night. How could I forget?

As a kid, I listened to big band vocalist Sinatra on “78” records. He was special even then. By the early 60’s, Sinatra was an entertainment institution. Music, movies, television and the subject of myriad publications which alluded to political and criminal intrigue.

How many romantic evenings have all of us had — candles, cocktails and Sinatra playing? He was a legend, America’s most iconic celebrity.

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Heady stuff for a young reporter invited to one of Sinatra’s hangouts. The story was about Jilly Rizzo. He ran a famous night spot in New York. “Jilly’s Saloon” (everybody just called it Jilly’s). It catered to lots of celebrities, but most notably Frank Sinatra and his “rat pack”. My primary focus that night was Jilly himself. We did a low-key chat about his club. Jilly did the talking. About his youth, how hard he worked to make his club a success. I let him talk, which he appreciated. He was fascinating. A real life Damon Runyon character.

The interview wrapped. I figured my night was over. Wrong. Jilly kept referring to me as “Kid”. As I prepared to leave with my engineer, Jilly tugged at my sleeve and motioned for me to follow him.

“Kid”, he said in his raspy voice, “I want you to meet some pals”. Jilly led me to a table filled with lots of cigarette smoke, profanity and laughter. I was a little nervous.

I had cause to be nervous. I made eye contact, my brain began to register and I began to smile blankly. Sinatra, Dino, Sammy, Joey Bishop and other familiar faces looked at me. My brain kept shifting gears. Apparently Jilly had introduced me as “Kid”, a newbie who was okay. That turned out to be my access card.

I realized I had a big glass of scotch in my hand. Frank Sinatra was talking to me, a big glass of scotch in his hand, a cigarette dangling from his mouth. I think I still had a glazed smile on my face.

“So, Kid”, he asked, “What the hell do you do that makes Jilly like you?”

I told him I had been listening to Jilly and found his back story fascinating. I told Sinatra I enjoyed listening rather than talking. It was easier, I volunteered. “You’re on radio and you like to listen rather than talk?”, he asked.

“Yes”, I said. I just stared at him.

He stared back, then said, “Kid, you’re okay”.

FrankSinatra9I slid into some questions about his childhood, about his weight, the difference between his singing and his conversational voice. Sinatra was off and running. The anecdotes had little to do with celebrity and lots to do with the guy behind the legend. I kept listening.

He noticed the tape recorder wasn’t running. Puzzled. I said this was social time. He looked even more puzzled, then shook his head and smiled. Sinatra said he wasn’t used to such treatment. I smiled. An easier smile.

I talked a little about my hearing problems, diction problems. My determination to get things right. Now Sinatra was listening. He said he too had diction problems during regular conversation which he tried to cover up with sarcasm and bluster. I realized he was leaning in as if to confide with me. I also noticed the other celebs had backed away, giving Sinatra privacy.

The conversation continued for another half hour, maybe 45 minutes. Jilly kept checking to make sure our drinks were fresh. I knew other people were staring at us. I figured they were wondering who the hell was this kid chatting up Sinatra. Actually, we were talking about music and radio. I told him about how I loved doing tight segues blending solo vocals, chorals, and instrumentals. He began giving me tips about how to segue some of his music. In a couple of cases, I was already doing it. He loved it.

We talked a little about sports. I told him I was a Brooklyn Dodgers fan and Duke Snider was my favorite player.

Sinatra said Joe DiMaggio and the Yanks were his favorites. I gave him a look and he smiled. Casey Stengel was our peace broker. Earlier that year, I’d spent time with Casey who was managing the fledgling New York Mets. Sinatra laughed at my recollection of conversation with Casey.

“Diction”, we both said and laughed.

Jilly Rizzo finally broke up the chat saying Sinatra was needed elsewhere. Sinatra grumbled, gave me a card and said there would be another time. There would be. Another story for another day.


THE DAILY PROMPT: IMPOSSIBILITY 

“Why, sometimes I’ve believed as many as six impossible things before breakfast.” – the White Queen, Alice in Wonderland.

Garry Hall of Fame Lectern 2

Sometimes, looking back on my life, it’s hard to believe I did all of that and took it in stride. Not six things … a thousand things … done every day as if they were no big deal. They were no big deal at the time. Looking backward, with the benefit of 20-20 hindsight, turns out they were something special As time slouches on, the memories become increasingly precious and fun to remember.

This is my first connection with the Daily Prompt! And I haven’t finished my first cup of coffee. Never would have expected this!

Marilyn and I had been looking forward to the Judy Collins concert for months. Marilyn bought the tickets last January before her complicated heart surgery. At the time, I wondered if she was being extravagant given our tight budget. I was very wrong. Marilyn figured the concert would give us something to look forward to in the months while she struggled to recover from the surgery.  It’s taken a toll on her body and spirits.

The concert? She was right.

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It didn’t seem particularly right during the long drive into Boston yesterday. Intermittent heavy rain showers made the usually easy Sunday drive a challenge. Often the traffic looked like something out of “Wagon Train.” Yet, by the time we got to Boston, it was all good. A handicapped parking space was available directly in front of the theater — like on television or in the movies. And the rain stopped, just like that.

judy collins concert

We took a quick scan of nearby restaurants and Japanese got our attention. We chowed down on sushi and tempura with plenty of time to spare to make our 7 pm curtain. Marilyn took pictures and we watched as the crowds arrived for the Collins concert. The audience appeared to be three-quarters casually dressed baby boomers. Our kind of folks.

And suddenly, it was time to pack up the camera and find the tickets. Showtime!

wilbur theater judy collins

The Wilber is an old theatre. Built in 1914, it’s rather cozy inside and they have arranged the orchestra level as a dinner theater. Both of us had been to the Wilbur in the past, though not recently, so it was a bit of a shock to see how it had changed. Instead of theater seats, there were high, padded bar stools. Wait staff brought refreshments.

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Sometimes you anticipate, but are disappointed. The moment Judy Collins walked on stage, the evening turned magical. Judy Collins has — at 74 years old — not only kept her voice, but improved it. I had not realized what a skilled pianist she is, either. Her musicianship was remarkable and it perfectly suited the cozy theater.

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She entertained with a preferred list of her most popular songs. Folk, Broadway and Standards. There was no forced chit-chat but shared stories and memories of professional life across half a century. Most of the audience, including me, were nodding and smiling. It was our story too. The artists and  music of our generation. The music that was the background to our lives.

The songs brought back a flood of memories. “Send In The Clowns” reminded me of my days in TV news dealing with politicians. “Danny Boy,” always a sentimental favorite, took me back to our honeymoon in Ireland where I discovered my Irish roots. I was smiling with tears in my eyes.

theater district judy collins

I thought the concert was over as Judy Collins thanked her pianist-music director while blowing kisses to the audience. It couldn’t be over. Not yet.

It wasn’t over!

Marilyn reassured me as Judy Collins began to sing “Amazing Grace.” Our song. That was the song the bag piper played at our wedding. That our friend sang. Apparently it was everyone’s song because Judy invited the audience to join in and go for the harmony. We sang and filled the 100-year old Wilbur Theater with our voices.

Magic time! We held the last words of “Amazing Grace” for long minutes, the music and our voices echoing through the venerable theater.

A night to remember!

JUDY COLLINS, AMAZING GRACE – GARRY ARMSTRONG

TEN FAVORITE MOVIES* 2014 EDITION – GARRY ARMSTRONG

The title has an asterisk because this is an impossible post. I can’t begin to do justice to all the movies I love when limited to ten. However, a dear friend (and fellow movie maven) asked me to compile such a list for a project.

Inside the Loew's Valencia. Queens, New York.

Inside the Loew’s Valencia. Queens, New York.

I saw my first film at age four in 1946. I recall relatives saying I talked like a grown up, spouting familiar lines. Frequently they were lines from movies. That quirk would continue for the rest of my life right to the present.

I’ve had the good fortune to spend time with many of the legends from old Hollywood, which sometimes clouds my perspective. I become totally immersed with movies. I become part of the film, sharing the feelings of the characters. Love, hate, joy and sorrow. And now …

GARRY ARMSTRONG’S FAVORITE MOVIES –  SEPTEMBER 2014 VERSION

THE BEST YEARS OF OUR LIVES – 1946. The first movie I saw. I was 4-years old. Mom and Dad looked like a celebrity couple. Dad, just back from active duty in World War Two, seemed 10-feet tall in his uniform. The film’s theme, GI’s readjusting to civilian life, would become a personal issue in our family.

THE MAGNIFICENT SEVEN – 1960.  If I love movies, I am passionate about westerns! I saw “The Magnificent Seven” 6 times during its first week in the theater. Steve McQueen was “the man”. All the stars were so very cool. Eli Wallach was a hoot as the Mexican bandit leader. His line, “Generosity, that was my first mistake” is my email tag.

INHERIT THE WIND – 1960. Every time it’s on, we watch it. Marilyn and I smile, anticipating the lines, waiting for the Spencer Tracy/Clarence Darrow monologues. The Tracy-Fredric March courtroom scenes are perfect. Two masters at work. Gene Kelly does his best dramatic work as the acerbic H.L. Mencken character.  The film’s an excellent classroom tool for anyone unfamiliar with the Scopes trial.

THE AMERICANIZATION OF EMILY – 1964. If you love great script and dialogues, this may be the all-time best movie. The real star is the script and its writer, Paddy Chayefsky. James Garner’s favorite movie and best film role. Garner was brilliant! Ably supported by Julie Andrews (her first dramatic role). Hard to watch a gung-ho action war flick after viewing this one.

TOMBSTONE – 1993. I came on board after the second or third viewing of this one because of Marilyn’s love of this version of the Earp saga. It’s fast-paced, well-acted, relatively authentic and beautifully photographed. The film gives us a jolt of vicarious pleasure as the good guys mow down the bad guys. We have coördinated Tombstone tee shirts.

GIGI – 1958. I remember seeing this first run. I was 16, head over heels in love with Leslie Caron. A couple of years earlier, I’d waited outside the tiny Trans-Lux Theatre in Manhattan where Caron’s “Lilli” had a record-breaking run. A wonderful musical. Music, sets, cast. Marilyn and I know the songs and sing along. It never gets old.

SINGIN’ IN THE RAIN – 1952. Maybe best musical. Ever. So many wonderful “numbers” including Gene Kelly’s iconic (I know the word is overused) title tune sequence. Once upon a time, I used to dance to work in the rain, just singing and dancing — like Gene Kelly. I got more than a few stares.

SHANE – 1953. Marilyn and I both saw this first run at the Loews Valencia in Queens, New York, but not together. The Valencia was like Radio City Musical Hall. Fantastic and huge, with a starlit ceiling. Alan Ladd’s finest performance thanks to director George Stevens. I’ve seen Shane dozens of times and still marvel at its photography and editing. “Reb” funeral scene is classic, cinematic magic.

S.O.B. – 1981. Blake Edwards scathing take on Hollywood. It didn’t endear him to tinsel town’s movers and shakers and they tried to sabotage S.O.B.’s distribution. William Holden and Julie Andrews head a wonderful ensemble cast. Holden’s dialogue to a suicidal friend could well have been Holden’s own eulogy.

CASABLANCA – 1943.  Who doesn’t love this film? I met co-writer Julius Epstein in the 70’s. He shared lots of great stories about the making of Casablanca. He said every day was crazier than the previous one, with new dialogue arriving as scenes were set up. We saw a remastered Casablanca on the big screen last year, a celebration of its 70th anniversary. Bogie and the gang were in their prime.


Ask me to my ten favorites next month. Different answers! Hoo-Ray for Hollywood!

NOTES ON A COWARDLY LION BY JOHN LAHR — GARRY ARMSTRONG

It’s been a while since I finished reading the Bert Lahr biography, “Notes on a Cowardly Lion“, written by his son, John. I am still emotionally involved.

Why does a book written more than 40 years ago about a show business figure who peaked more than 70 years ago still sit front and center in my mind? I’m a retired TV and radio news reporter with more than 40 years in “the business”. The “news biz” is journalism, but it’s also performance, even for those of us who strive for objectivity.

Part of the job is celebrity too. When you appear on television five or six days a week for more than four decades, you become a household face. People ask for your autograph. You receive special treatment in stores and restaurants. Twelve years into retirement, folks still recognize me, tell how they grew up watching me on TV and ask for autographs. Mine is a regional celebrity although I’ve encountered fans almost everywhere I’ve traveled in the United States and overseas. I’ve always enjoyed and appreciated my celebrity. Yes, I miss it a bit when I’m not recognized but I don’t get depressed if I go unnoticed. I needed to share a little of my life because it puts my feelings about the story of Bert Lahr’s life into perspective. I really understood in a very personal way where the man was coming from.

Bert Lahr as the Cowardly Lion in Wizard of Oz...

I enjoyed the biographical side of the book. It speaks to history, the history of vaudeville and burlesque, show business venues that are frequently misrepresented. As a self-proclaimed trivia maven, I received a little education. Case in point: Clifton Webb, long perceived as a middle-aged effete, film actor actually was a well-received song and dance man in vaudeville. I learned the difference between vaudeville and burlesque. I came to appreciate the art form of what I used to perceive as Bert Lahr’s overly broad slapstick comedy. I understood how Lahr’s art form suffered at the hands of Hollywood film directors who tried to minimize his well honed craft and squeeze it into their movie concept of musical comedy.

Lahr’s comic genius never really had a chance  to shine in Hollywood. “The Wizard of Oz” was the exception. But that success also spelled disaster in Tinseltown because Lahr never again received a film role like the Cowardly Lion. Years later, he would find similar frustration with television which tried to restrict his comedic moves in variety shows. Lahr didn’t think much of TV comic legends like Milton Berle and Sid Caesar. Ironically, both Berle and Caesar spoke highly of Lahr in lengthy interviews with me — even as they lamented the fading of their celebrity. But that’s another story. Back to Bert Lahr.  Born into poverty, Lahr was always very conscious about being financially secure.

BertLahrEven when he returned to Broadway where he found his greatest success over the years, Lahr never felt financially secure even though he was earning top star salaries. In later years, as a TV pitchman for Potato Chips, Lahr earned more money for a thirty-second commercial than he ever did for starring in a play, movie or TV special. He still didn’t feel financially secure.

Bert Lahr did find some unexpected late professional success with surprising turns in work like “Waiting For Godot” co-starring with the likes of E.G. Marshall. Lahr savored critical acclaim, but was never satisfied even when he received it. For all of his professional and financial success, he was an unhappy man. He was insecure as an aspiring comedian/actor seeking stardom. He was insecure as a star thinking others were always trying to undermine him. He was insecure as an aging, respected legend believing people had forgotten him even though he was recognized everywhere he went. Lahr was miserable as a husband and father — demanding but not giving. Lahr desperately needed the audience — the laughter, the applause — throughout his life. Sadly,  he never appreciated the love and admiration he got from his family.

As the curtain closed on his life — with his loved ones gathered around him — Lahr still longed for his audience and their laughter and applause. He couldn’t let it go and move on, nor appreciate the good things life offered him. Lahr’s loneliness haunted me. The deeper I got into the book, the more painful I found reading his biography. I know first-hand how intoxicating and addictive celebrity is, especially when you fail to appreciate real life. Bert Lahr was never able to see the joys and sorrows of family and friends as “the real thing” that makes it all worthwhile. It’s the celebrity that is unreal and ephemeral.

It’s the people who love you who will sustain you after the curtain closes and the audience departs the theatre. That Lahr was never able to recognize what he had and accept the love that was there for him was his personal tragedy.

It’s a fine biography, but not a joyful reading experience. It is in many ways a cautionary tale, a reminder of how important it is to keep ones perspective and ones feet on the ground.