DRW50
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Everything posted by DRW50
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http://www.youtube.com/watch?v=RH1UBtOqkYo&feature=channel&list=UL I'm glad Kathryn Hays stopped coloring her hair after a while.
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Anita Baker + Felicia = http://www.youtube.com/watch?v=VWGTiHFJNLw&feature=channel&list=UL
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He should have kept the beard.
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Neither of them did a lot for me. I tended to prefer the guys who were by the mid-90's seen as unacceptable, like Greg Watkins, or even Scott DeFrietas.
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There are several more on the Albers channel which I didn't upload. It's great to see this timeframe, even in snippets. Albers doesn't seem bad to me as Curtis (he's not aristocratic, but that isn't a big deal); I wonder why they fired him.
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In an interview Albers did while he was on Loving, he said he was signed to a contract at AMC but the writers' strike ruined it. I wonder what ideas they had for him (maybe a pairing with Cecily). His early scenes with Cecily and Hillary are a lot of fun. Too bad that didn't last. I got the feeling there was a fairly long gap between some of the clips - maybe they just brought the character back long enough to have him kill Laura. You may have seen them already but I've posted some of his Loving clips in the Loving thread. There are several others I didn't post. It's good stuff, as we learn more about Curtis, and Lotty's death, and see some rare glimpses of Egypt, and Rocky, and some very warm Ava/Curtis moments.
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November 1976 Digest
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November 1976 Digest
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Joanna was dull on DWTS. She was much more memorable on that athletic show Maks was on, I can't remember the name. Superstars. http://www.youtube.com/watch?v=XmPfLRsx_Bs http://www.youtube.com/watch?v=nz27Zmov3J8
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for six summers on network TV from New York while Betty took off on vacations, and when I had added other important commercials to my list, people seemed to forget I had once played everything from scullery maids to queens." June delivered commercial messages on hundreds and hundreds of the big dramatic shows and, from the sidelines, watched other actresses in roles she longed to have. Whenever she approached a producer or director and asked if she could please just read for a part, they gave her a figurative pat on the head and a reply to the effect of: "Now, little girl, you're doing the commercials very nicely and just be happy about that." Out of a clear blue sky, one day last summer, everything changed. One of the girls associated with the production of The Secret Storm remembered June Graham, the actress, and recommended her for the part of Myra Lake Ames, which was then open. June could hardly believe it, when the call came. Even less, when she had read and got the job. She went into the part on short notice, after brief rehearsal, and it fitted as if molded to her measure. There was immediate and excited reaction from her family. While admiring her mother's every word and gesture, Nancy, who turned twelve in October, was concerned about the impression June was making. "I'm not sure I liked your hair," she worried. Chris, who will be ten in December, gave unqualified approval, with a boy's disregard for details of appearance. June's mother, watching from her home in St. Louis, thought she was fine - "but when you were up on that ladder in one scene, didn't you think you look just a little bit plump from that rear view?" (June's one hundred and fifteen pounds are nicely distributed over a five-foot-six frame, so it could only have been the fault of an unfortunate camera angle.) Her husband Clint (Clint Senholzi, married to June since a year ago last April) was busy at the big New York bank of which he is an officer, but was sure everything would go exactly as it should for her debut as Myra Ames. It did. There was no hesitancy in her approach to becoming Myra. She already began to feel like her, and their personalities merged well. "I liked Myra from the first, partly because our director, Gloria Monty, took such care to sketch in her background for me. She told me how much this girl had been through and what situations had turned her into a woman who now understands herself and has great understanding of others. Myra has honesty. She is kind. She has the qualities important in a wife, and in the woman who becomes stepmother to Peter Ames' three children. "Peter Hobbs, who plays Peter Ames, made me feel at ease immediately in our scenes together. The whole cast and everyone concerned with the show were simply wonderful. I can't tell you what fun it has turned out to be. As an only child, pretty enough to be pampered by all who came under the spell of dancing brown eyes, vivacious manner and quick sense of humor, June was always quite unspoiled but determined to be an actress. Her dentist father and her mother would smile indulgently and say, "That's fine, but what do you want to do when you grow up?" Their small daughter would suppress a secret smile of her own, and go on trying out for parts in school plays, little-theater productions and the like. And she got them. Her father taught her to ice-skate and, at twelve, she was a member of a skating club when a professional ice show came to St. Louis and recruited local young people as extras. June was one of them, thrilled by her first "pro" job, determined more than ever to get to New York someday and become a real actress. But, after high school, her father was adamant about a college education, for which she is now grateful. "I was a drama major at the University of Iowa, worked summers in St. Louis writing advertising copy and sometimes modeled for junior clothes. If my daughter ever wants to model," June says now, "I wouldn't put my foot down, as long as it doesn't interfere with her education. I think it's wonderful experience for a youngster, but first things come first, as my father believed." There was work with a stock company in St. Louis, and some stock in Wisconsin and Michigan. She played dramatic parts on radio and television. But her reputation was building up as a girl who could deliver a commercial message with true savoir faire. She liked that, but hoped it wouldn't be all. While all this was happening to her career, June's personal life was concerned with an early first marriage (when still in college) and the arrival of two adorable children. And, finally, the necessity of supporting a home for them and for herself. New York seemed the best place for an actress who had to keep busy. So - armed with three letters of introduction, the knowledge that she had a couple of good friends there, and fortified with youth and high hopes - she left St. Louis for the East." "People told me that actors are too competitive to help one another," she smiles. "One actress I knew found an apartment for me, helped me make the rounds, told me about every possible job. Everybody was kind. I landed a commercial job on a show called Broadway TV Theater and, after a few days, was put on a regular basis. It was luck, a matter of being in the right place at the right time, but it was more than that. Everyone had helped. When she was asked to substitute the first summer for Betty Furness, this time on the network, it was the beginning of a long list of wonderful things. Betty herself helped with advice and instruction. ""She couldn't have been kinder. She was just great, and always has been." Interspersed at times were a few dramatic roles for June - on Alcoa Theater, Robert Montgomery Presents, Goodyear Playhouse - enough to keep her hand in and satisfy her heat a little. The children were growing up nicely, the career was going ahead, and, if there were lacks in her personal life, she put them out of her mind. Until she met Clint, a bachelor with no thought of ever marrying an actress, as she had no thought of ever marrying a banker. Dark-haired, with rugged good looks and nice, humorous gray eyes. One day, he asked her just what it was she did on television and she tried to explain. "You know who Betty Furness is?" she asked. He didn't. She was stumped. "I don't suppose you even know who Howdy Doody is - ?" she questioned. He thought that must be one of the morning news shows! "That did it. I gave him a copy of Variety and told him it is our show-business trade paper and maybe he would understand more about my work if he read it. I started to read the Wall Street Journal. After we were married, I woke him up one night to ask what it meant to 'sell short' and, at that point, Clint advised me to forget the whole thing! Now he's way ahead of me. He knows a lot more about TV than I know about finance." They discuss her job, but his is the important one. "At home, we get down to everyday living. The house, the kids, Clint's work, our friends - who aren't all in finance or in show business. We have a lot of interests." Home is a big, somewhat old-fashioned apartment in an old-fashioned building made into four apartments and surrounded by private grounds where the kids can ride their bicycles without the menace of traffic. "We live in a world of reality there. Maybe it's the discipline of finance, but Clint never lets anything get out of proportion. He has a solidity that is wonderful for me, and the kids adore him." On the days she is on the show, June gets to the studio in New York around noon to rehearse for the afternoon broadcast. At four-thirty, New York time, they are off the air. Maybe there are next day's scenes to be blocked, or an interview, or a business conference. Usually, she is able to meet Clint at the commuter train and they go home together to dinner with the children. Chris, who practically hibernates in the winter until spring baseball training gets under way, is apt to busy himself between homework and last season's score cards, when he isn't absorbed in Westerns on TV. Nancy is at the age when, after schoolwork, social life becomes increasingly important. They are collectors all, particularly of rocks and minerals, and they like to take out their most prized specimens and look them over and decide where they want to go next to get more. June does needlepoint, learned on the set from Betty Furness. "She seemed to be having so much fun that I asked her to show me how," June said. "Now I'm an addict." She has a book of poems coming out soon - "it's really doggerel, not poetry, humorous lines written while I was in a hospital, disenchanted. Rather than take out my complaints in a long series of useless griping, I put it down in rhyme and called it 'Please Don't Tip the Internes.' I hope it will make people laugh a little." Her humors made her first months in New York easier, even when necessity forced her to approach people she would never have dared approach without the need. "Necessity forces us all to do things that are good for us, and a little humor keeps it from being quite so hard. And then we find it all turns out fine. "An actress never knows what she will be asked to do. I rebelled at doing nothing but commercials, and now I love doing them and hope I can continue. But it's also a great satisfaction to be a dramatic actress again. Particularly to be Myra Ames, a nice, normal kind of wife, as all women want to be," says June Graham.
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kinds of discoveries in store for them. Love, for one. And each other for another. And a worrisome kind of brother-and-sister relationship with a built-in image problem, for a third. Ron was a mere twenty-one and Susan was a trifling sixteen when each of them suddenly acquired a "new addition" to the family - an awfully attractive new addition! Love, of course, had its own way of happening. "We didn't fall in love all of a sudden," says Ron. "As a matter of fact," adds Susan, "when we first began working on the show, Ron wouldn't even pay attention to me. He seemed to be deliberately avoiding me and I couldn't figure out why." "Well, it didn't have anything to do with Susan. It was just that I had never worked in television before, and just wasn't used to the idea of myself doing something that I guess I didn't feel I was good enough for. Both that, and the pressure of doing a new show every day, drove me into myself, I guess." "And at the time," says Susan, "Ron was having a very destructive relationship with another girl. I was seeing someone else, too, who wasn't right for me." But working so closely together, as actors must on serials, eventually aided the natural, strong attraction between these two young, charming people. Slowly, without any kind of planning, they became a couple. We were all sitting in the living room of Ron's large West Side (N.Y.) apartment. Although Susan has her own Manhattan apartment, she spends most of her time at Ron's place. Their relationship has grown very close. They eat together (Ron's a cook, and he's great!), study liens together for the next day's show, entertain mutual friends, and even pursue different hobbies, isolated from one another, but done in the same apartment. Except for the fact that they are in love and entertain very un-brotherly and un-sisterly feelings towards each other, they might almost be taken for brother and sister. They look alike and feel about things so much the same, and have already adapted to each other's lives and habits the way family members do. Marriage? - well, that's one of the snags that Ron and Susan have to work out. Ron was hurt by the divorce of his parents he loved, and so was Susan. The result; neither one of them knows where he stands on marriage, only that, right now, both of them disapprove of what society has made of the institution. "Of course I could change my mind on getting married later on," says Ron. "I always reserve the right to do that." Of the two of them, Ron had the stormier, more insecure childhood. And it is he who is the talk, the one who seems involved with himself, still trying to figure things, as if life were a terrific puzzle. It is Susan, on the other hand, who seems the calm one, content to let Ron do the talking. On the surface Ron appears far more insecure than Susan seems to be. "That's just the way it looks," says Ron, hinting that the tables are really turned the other way around. "I'm the one who's afraid that he's going to leave me," says Susan, "and Ron is always telling me how silly that is." For Ron's part, there were identity crises aplenty to recall! Both of his parents had been (and still are) in show business. His mother, the singer, Denise Lor, that everyone knew from the Gary Moore Show, and his father, Jay Martin, a director, steeped him in the challenge and glamour of performing. They never asked him to be a performer, but the very atmosphere of the family suggested it. When he was just a boy, he sang on his mother's show. But as Ron grew a little older, and he was faced with the dilemma of college and career, something inside him snapped. He attended Wesleyan University only one year, not knowing any more which way was up. "I was neurotic and paranoid," says Ron. "My father always pushed me. He wanted me to get into something secure, so that I could do what he did: raise a big family and support my children in style. It was that whole 1950's dream that left the people of this country so empty. It was the feeling that your life wasn't for you, but for other people." After that year at Wesleyan, Ron didn't know where his head was at, and so he decided to explore a little. For a while, he took odd jobs, in a bank, as a construction worker - anything but show business. Eventually show business didn't seem so much a choice that had been made by other people. Almost naturally, he began to sing and perform in front of groups. In a few years time, after much starvation, he found himself in the unique position of being a singing non-actor who was hired for a totally straight acting role on a regular afternoon TV series. "It was a little bit of a shock and it took me a while to get over it. Now I'm used to the idea." Susan, on the other hand, had been a model child and a model student. Everything appeared ideal. Until the age of twelve, she grew up among the serene surroundings of Westport, Connecticut, in a family graced with three girls. Susan was so pretty and talented that when the family moved to New York, she was sent to a professional children's school, and did modeling and took dancing lessons. Without that rarified atmosphere of talented performing children, Susan was always being praised for her great intelligence and splendid attitude. This was a happy little girl - or so everything thought. It was a facade. Her parents divorce, which came when she was eight or nine, hurt her more than she ever showed. Interestingly enough, both Ron and Susan have been extremely close to the parent of the opposite sex. With Susan, it was with her father, Angus, who remarried, after he divorced Susan's mother. With Ron, it was his mother, Denise Lor, who has also remarried. Ron says that his mother's example as a performer and a human being has meant much to him as an example. "She quit television in 1960 when she was popular," says Ron. "Her problem was typical of a lot of people in show business. She was working and she didn't know why she was working. She had never really been ambitious, and all of a sudden she was giving up a personal life for a career. So one day she quit and decided to go back to being a housewife. Five years later, in 1965, she knew finally what she wanted and returned to performing. It was tough...but she made it. Now she's always working." It was partly from his mother's example that Ron could see the dangers of working only for fame, and not for happiness. What Ron really wants, at least what he thinks he wants right now, is to have his own singing group. (It's a love for this special part of show business the vocal arts, which probably comes from his mother.) He spends most of his spare time practicing, utilizing complex recording equipment that he keeps in a room of his apartment, keeping track of improvement in his technique. Right now, Ron is excited about a record he is cutting for an RCA label (as yet, he doesn't know the title of the album). Musicals turn Ron on. Last year he appeared in a free-style musical based on Romeo and Juliet, called Sensations, which still excites him when he thinks about it. He'd like to do it again. Ron and Susan are indeed youngsters, in chronological age, but their attitudes are not those of youngsters. They've come to so many important decisions that some people never come to. Some of Ron and Susan's decisions, of course, may only be temporary. For example, on the question of marriage, both of them admit that they may be more fearful than necessary of the institution because of the hurts inflicted on them by their parents' marital struggles. And one can so easily understand their position. In Ron's case there was the shock of not only a divorce, but of suddenly learning, as an adolescent, that his father had been married once prior to his marriage to Ron's mother, Denise Lor, and there had also been children in that previous marriage. Ron's father married for a third time, and acquired a third set of children. "For a while," says Ron, "I couldn't meet the children of his first wife, but I get along with them all now. I'm not bothered by any of it. I'm too into my own life." But what that whole experience (plus the experience of just living in America today) has made Ron feel is that "marriage is a public thing and it shouldn't be. It's a very private thing between two people and it doesn't matter who knows about it. It's better just to live together." Susan's experiences also make her feel that people should live together without benefit of official ceremony. "When my father and I were talking about it," says Susan, "I told him that I thought it's better for a couple not to go through with a wedding. He wasn't shocked. He understood." Neither Ron nor Susan, however, remains rigid on the question of marriage when the idea of children comes up. "I believe," says Ron, "a couple should get married if children are born. It would just be too hard on the offspring otherwise." "But I'm not interested in having children for a long time," says Susan. "I want to be free to go on with my acting." "And I'm not sure that I even want to bring children into this world," says Ron. "I'm not sure that I can be a good enough parent," and with that remark Susan concurs, although she does admit that no one can ever know until one tries it. "But it is true that maybe our backgrounds make us feel the way we do. Maybe we'll change our minds in a year or two. Who can say?" All of the preceding will naturally come as a shock to many. But the fact of the matter is, the sweet brother and sister pair, David and Jill, are in love in real life, and not only that, but have modern dilemmas that neither David nor Jill seem ready for. ("Quite honestly," says Ron, "those two are too sweet for my taste!") Will fans ever be able to see those two in the same way again? - Bob La Guardia
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January 1972 TV Radio Talk
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December 1959 TV Radio Mirror
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http://www.youtube.com/watch?v=feUsijAVQwc
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A new, well-funded study (funded by anti-gay groups) by a vocal opponent of gay marriage claims that children of gay parents suffer negative consequences in life. Of course, this study claims that anyone who ever had a homosexual experience is gay, and did not include a lot of same-sex couples (they claim that they just couldn't find enough), but that won't matter to our liberal media friends, like ABC. ABC initially had a very slanted headline until they were questioned about it. ABC proved their hostility towards gays with that disgusting hit piece on Matthew Shepherd that Elizabeth Vargas championed. North Carolina's GOP added bans on gay adoption to their platform, and Mitt Romney ran from gay adoption as fast as he could. His allies in the Senate, like Kelly Ayotte, are also against gay adoption. Expect them to hide behind this "science" to push more bigotry. The man who did the study wrote an article on it, barely managing to hide his attempts to use this against gay marriage. Remember his open bias when you hear about this "science." http://www.slate.com...different_.html http://thenewcivilri...012/06/10/41097
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This is one of the most disgusting things I've heard of in politics. A state senator in Colorado, whose campaign is desperate to show just how anti-gay she is, outed her gay son, to brag about how she is so against civil unions that her son is irrelevant. She claims she had no knowledge of this, but her refusal to say anything negative about - much less fire - the woman responsible speaks volumes. This is where we are now, apparently (as she isn't the only one in CO's legislature who is praised for voting against their gay children). Having a gay child you discriminate against is a badge of honor, and your party will happily present these children as huge burdens that you just somehow manage to deal with. http://www.denverpost.com/breakingnews/ci_20827947/state-lawmaker-unhappy-campaign-e-mail-outed-her
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http://www.youtube.com/watch?v=4cAyVqhJ24g
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http://www.youtube.com/watch?v=tmu3wT8DUfk&feature=channel&list=UL
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Neither did I (or Penny or Don). I'm glad the show kept trying to bring them back. That was just dropped by the show's last decade, and Penny no longer even existed.
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Mary is in the 1978 episode Oakdalian posted. She's having dinner with Bob here. http://www.youtube.com/watch?v=zy4DMgVhJyw She is also in the 1988 Mac/Nancy wedding episode Oakdalian uploaded - I think she's just in one or two scenes.
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Bits of 1993 have been posted but nothing with those characters. I've only seen one episode of Kelly Wood in her main stint as Mary and I thought she looked a little too glamorous. I kept getting confused and thinking she was Sandy. Sabrina also returned briefly in 1993, I think for the anniversary and then with Duncan in Montega. She was such a drab character I'm surprised they bothered.
