Remember Aunt Clara ?? Bewitched?


Marion Lorne (August 12, 1883 鈥 May 9, 1968) was an American actress of stage, film, and television. After a career in theatre in New York and London, Lorne made her first film in 1951, and for the remainder of her life, played small roles in films and television.

Her recurring role, between 1964 and her death in 1968, as Aunt Clara in the comedy series, Bewitched (1964鈥1972) brought her widespread recognition, and for which she was posthumously awarded an Emmy Award for Outstanding Supporting Actress in a Comedy Series. 聽

She was born Marion Lorne MacDougall in West Pittston, Pennsylvania, a small mining town halfway between Wilkes-Barre and Scranton, of Scottish and English immigrant parents. 聽While her year of birth is listed as 1885 on her tombstone, it was usually listed as 1888 when she was alive and the Social Security Death Index lists it as 1883. She studied at the American Academy of Dramatic Arts in New York City.

Career Lorne debuted on Broadway in 1905; she also acted in London theaters, enjoying a flourishing stage career on both sides of the Atlantic Ocean.

In London she had her own theater, the Whitehall, where she had top billing in plays written by Walter Hackett, her husband. None of her productions at the Whitehall had runs shorter than 125 nights.

After appearing in a couple of Vitaphone shorts, including Success (1931) starring Jack Haley, she made her feature film debut in her late 60s in Strangers on a Train (1951), directed by Alfred Hitchcock.

The role was typical of the befuddled, nervous, and somewhat aristocratic matrons that she usually portrayed.

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From 1952-55, Lorne was seen as perpetually confused junior high school English teacher Mrs. Gurney on Mr. Peepers. From 1957鈥58, she co-starred with Joan Caulfield in the NBC sitcom Sally in the role of an elderly widow who happens to be the co-owner of a department store. Although afraid of live television, declaring “I’m a coward when it comes to a live [television] show”, 聽she was persuaded to appear a few times to promote the film The Girl Rush with Rosalind Russell in the mid-1950s.

Between 1958鈥64, she made regular appearances on The Garry Moore Show (1958鈥64). Her last role, as Aunt Clara in Bewitched, brought Lorne her widest fame as a lovable, forgetful witch who is losing her powers due to old age and whose spells usually end in disaster. Aunt Clara is obsessed with doorknobs, often bringing her collection with her on visits.

Lorne had an extensive collection of doorknobs in real life, some of which she used as props in the series.[8] Death She appeared in twenty-seven episodes of Bewitched, and was not replaced after she died of a heart attack in her Manhattan apartment, just prior to the start of production of the show’s fifth season, at the age of 84 on May 9, 1968. Lorne is buried at Ferncliff Cemetery in Greenburgh, New York.

Posthumous The producers of Bewitched recognized that Lorne’s performance as Aunt Clara could not be replicated by another actress. 聽Comedic actress Alice Ghostley was recruited to fill the gap as “Esmeralda”, a different type of befuddled witch with wobbly magic whose spells often went astray.

Coincidentally, Lorne and Ghostley had appeared side-by-side as partygoers in the iconic comedy-drama film The Graduate , made the year before Lorne’s death. 聽She received a posthumous Emmy Award for Outstanding Supporting Actress in a Comedy Series for her work on Bewitched. The statue was accepted by Bewitched star Elizabeth Montgomery. Personal life She was married to playwright Walter Hackett, who died in 1944. WIKIPEDIA 聽SOURCES聽 Personal life She was married to playwright Walter Hackett, who died in 1944.

AMERICAN GRAFFITI


American Graffiti is a 1973 American coming-of-age comedy-drama film directed and co-written by George Lucas starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Suzanne Somers and Joe Spano also appear in the film.

 

Set in Modesto, California in 1962, the film is a study of the cruising and rock and roll cultures popular among the post鈥揥orld War II baby boom generation. The film is told in a series of vignettes, telling the story of a group of teenagers and their adventures over a single night.

The genesis of American Graffiti was in Lucas‘ own teenage years in early 1960s Modesto. He was unsuccessful in pitching the concept to financiers and distributors but found favor at Universal Pictures after United Artists, 20th Century Fox, Columbia Pictures, Metro-Goldwyn-Mayer, Warner Bros., and Paramount Pictures turned him down. Filming was initially set to take place in San Rafael, California, but the production crew was denied permission to shoot beyond a second day.

 

American Graffiti premiered on August 2, 1973 at the Locarno International Film Festival in Switzerland and was released on August 11, 1973 in the United States. The film received widespread critical acclaim and was nominated for the Academy Award for Best Picture. Produced on a $777,000 budget, it has become one of the most profitable films of all time. Since its initial release, American Graffiti has garnered an estimated return of well over $200 million in box office gross and home video sales, not including merchandising. In 1995, the United States Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry.

 

In early September 1962 in Modesto, California, on the last evening of summer vacation, recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner, the drag-racing king of the town, and Terry “The Toad” Fields in the parking lot of the local Mel’s Drive-In diner. Curt and Steve are scheduled to travel the next morning to Northeastern United States to start college. Despite receiving a $2,000 scholarship from the local Moose Lodge, Curt has second thoughts about leaving Modesto. Steve gives Toad his 1958 Chevrolet Impala to watch while he’s away at college until he returns at Christmas. Steve’s girlfriend, Laurie, who is also Curt’s sister, arrives in her car. Steve suggests to Laurie, who is already glum about him going to college, that they see other people while he is away in order to “strengthen” their relationship. Though not openly upset, she is displeased with his proposal which affects their interactions the rest of the evening.

 

Curt accompanies Steve, last year’s high school student class president, and Laurie, the current head cheerleader, to the back-to-high-school sock hop. In one story line, Curt is desperate to find a beautiful blonde girl driving a white 1956 Ford Thunderbird that he sees en route to the dance: at a stoplight, she appears to say “I love you” before disappearing around the corner. After leaving the hop, Curt is coerced by a group of greasers (“The Pharaohs”) to participate in an initiation rite that involves hooking a chain to a police car and ripping out its back axle. The Pharaohs tell Curt that “The Blonde” is a trophy wife or prostitute, but he refuses to believe either.

Determined to get a message to the blonde girl, Curt drives to the local radio station to ask DJ Wolfman Jack, who is omnipresent on the car radios, to announce a message for the blonde girl. Inside the radio station, Curt encounters a bearded man who tells him that the voice of The Wolfman is pre-taped from afar.

The man still accepts the message from Curt to see what he could do. As he is leaving the station, Curt sees the man talking into the microphone and hears the voice of The Wolfman, and realizes the man is the actual DJ himself.

 

Sure enough, The Wolfman eventually reads the message on the radio for “The Blonde” to meet Curt or call him at a number which happens to be a telephone booth. Curt waits by the telephone booth and early the next morning, he is awakened by the phone ringing. It turns out to be “The Blonde” who says she knows him and maybe she would see him cruising the coming night. Curt replies probably not, intimating that he decided to go to college and will be leaving that morning.

The Toad, in Steve’s car, and John, in his yellow 1932 Ford Deuce Coup茅 hot rod, cruise the strip of Modesto. Toad, who is normally socially inept with girls, successfully picks up a flirtatious, and somewhat rebellious, girl named Debbie. John inadvertently picks up Carol, an annoying 12-year-old who seems fond of him. Another drag racer, the handsome and arrogant Bob Falfa, is searching out John in order to challenge him to a race.

Steve and Laurie have a series of arguments and make-ups through the evening. They finally split and, as the story lines intertwine, Bob Falfa picks up Laurie in his black 1955 Chevrolet One-Fifty Coup茅. Bob finally finds John and goads him into racing. A parade of cars follow them to “Paradise Road” to watch the race. Laurie rides shotgun with Bob as Toad starts the race. As Bob begins taking a lead in the race, he loses control of the car when a front tire blows, and the car plunges into a ditch and rolls over. Steve and John leap out of their cars and rush to the wreck as a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and begs him not to leave her. He assures her that he will stay in Modesto.

At the airfield in the morning, Curt says goodbye to his parents, his sister Laurie, Steve, John and The Toad. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde driving down a country road.

An on-screen epilogue reveals that

John is killed by a drunk driver in December 1964,

Toad is reported missing in action near An L峄檆 in December 1965,

Steve is an insurance agent in Modesto, California,

and

Curt is a writer living in Canada.

 

Richard Dreyfuss as Curt Henderson

Ron Howard as Steve Bolander

Paul Le Mat as John Milner

Charles Martin Smith as Terry “The Toad” Fields

Cindy Williams as Laurie Henderson

Candy Clark as Debbie Dunham

Mackenzie Phillips as Carol Morrison

Wolfman Jack as himself

Bo Hopkins as Joe Young

Manuel Padilla, Jr. as Carlos

Harrison Ford as Bob Falfa

Lynne Marie Stewart as Bobbie Tucker

Terry McGovern as Mr. Wolfe

Kathleen Quinlan as Peg

Scott Beach as Mr. Gordon

Susan Richardson as Judy

Kay Lenz as Jane

Joe Spano as Vic

Debralee Scott as Falfa’s Girl

Suzanne Somers as “The Blonde” in T-Bird

American Graffiti

 

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Sources : Wikipedia / YouTube/Pinterest/Google/Tumblr/various

JERRY LEWIS


Jerry Lewis聽聽(born聽Joseph Levitch; March 16, 1926) is an American actor, comedian, singer, film producer, film director, screenwriter and humanitarian. He is known for his聽slapstick聽humor in film, television, stage and radio.

Picture taken during the 60s of US comedian, direc

JERRY LEWIS

He and聽Dean Martin聽were partners as the hit popular comedy duo of聽Martin and Lewis. Following that success, he was a solo star in film,聽nightclubs, television, concerts and musicals. Lewis served as national chairman of the聽Muscular Dystrophy Association聽and hosted the live聽Labor Day聽broadcast of the聽Jerry Lewis MDA Telethon聽for 44 years.

Lewis has received several awards for lifetime achievements from the聽American Comedy Awards,聽Los Angeles Film Critics Association,聽Venice Film Festival,聽Academy of Motion Picture Arts and Sciences聽and been honored with two stars on the聽Hollywood Walk of Fame.

Early life

Lewis was born聽on March 16, 1926 in聽Newark, New Jersey聽to聽Russian Jewish聽parents His father, Daniel Levitch (1902鈥80), was a聽master of ceremonies聽and聽vaudeville聽entertainerwho used the professional name Danny Lewis.

His mother, Rachel (“Rae”) Levitch (n茅e聽Brodsky),was a piano player for a radio station. Lewis started performing at age five and would often perform alongside his parents in the聽Catskill Mountains聽in聽New York State.

By 15, he had developed his “Record Act” in which he exaggeratedly mimed the lyrics to songs on a phonograph.

He used the professional name Joey Lewis but soon changed it to Jerry Lewis to avoid confusion with comedian聽Joe E. Lewis聽and heavyweight boxing champion聽Joe Louis. Lewis then dropped out of聽Irvington High School聽in the tenth grade. He was a “character” even in his teenage years pulling pranks in his neighborhood including sneaking into kitchens to steal fried chicken and pies. During聽World War II, he was rejected for military service because of a聽heart murmur.

Lewis initially gained attention as part of a double act with singer聽Dean Martin, who served as聽straight man聽to Lewis’ zany antics in the聽Martin and Lewis聽comedy team. The performers were different from most other comedy acts of the time because they relied on their interaction instead of planned skits. They quickly rose to national prominence, first with their popular nightclub act, next as stars of their own聽radio program.

The two men made many appearances on early聽live television, their first on the June 20, 1948, debut broadcast of聽Toast of the Town聽on CBS (later as聽The Ed Sullivan Show). This was followed on October 3, 1948, by an appearance on the NBC series聽Welcome Aboard, then a stint as the first of a series of hosts of聽The Colgate Comedy Hour聽in 1950.

The duo began their聽Paramount聽film careers as ensemble players in聽My Friend Irma聽(1949), based on the popular聽radio series of the same name. This was followed by a sequel聽My Friend Irma Goes West聽(1950).

Jerry Lewis MDA Telethon

Dean Martin / Franck Sinatra / Jerry Lewis

Starting with聽At War with the Army聽(1950), Martin and Lewis were the stars of their own vehicles in fourteen additional titles,聽That’s My Boy聽(1951),聽Sailor Beware聽(1952),聽Jumping Jacks聽(1952), (plus appearing in the聽Crosby聽and聽Hope聽film,聽Road to Bali聽(1952) as cameos)聽The Stooge聽(1952),聽Scared Stiff聽(1953),聽The Caddy聽(1953),聽Money from Home聽(1953),聽Living It Up聽(1954),聽3 Ring Circus聽(1954),聽You’re Never Too Young聽(1955),聽Artists and Models聽(1955) and聽Pardners聽(1956) at Paramount, ending with聽Hollywood or Bust聽(1956).

All sixteen movies were produced by聽Hal B. Wallis. Attesting the comedy team’s popularity,聽DC Comics聽published the best-selling聽The Adventures of Dean Martin and Jerry Lewis聽comics from 1952 to 1957. As Martin’s roles in their films became less important over time the partnership came under strain. Martin’s participation became an embarrassment in 1954 when聽Look聽magazine used a publicity photo of the team for the magazine cover but cropped Martin out of the photo.The partnership ended on July 24, 1956.

While both Martin and Lewis went on to successful solo careers, neither would comment on the split nor consider a reunion. They did however make occasional public appearances together up until 1961, but were not seen together again until a surprise television appearance by Martin on a Muscular Dystrophy Telethon in 1976, arranged by聽Frank Sinatra.

The pair eventually reconciled in the late 1980s after the death of Martin’s son,聽Dean Paul Martin, in 1987.

The two men were seen together on stage for the last time when Martin was making what would be his final live performance at Bally’s Hotel and Casino in聽Las Vegas. Lewis pushed out a birthday cake for Martin’s 72nd birthday in 1989 and sang “Happy Birthday” to him, and joking, “why we broke up, I’ll never know.”

Solo

After the split from Martin, Lewis remained at Paramount and became a comedy star in his own right with his first film as a solo comic,聽The Delicate Delinquent聽(1957). Meanwhile, DC Comics published a new comic book series聽The Adventures of Jerry Lewis聽from 1957 to 1971. Teaming with director聽Frank Tashlin, whose background as a聽Warner Bros.Looney Tunes聽cartoon director suited Lewis’s brand of humor, he starred in five more films,聽The Sad Sack聽(1957),聽Rock-A-Bye Baby聽(1958),聽The Geisha Boy聽(1958),聽Don’t Give Up The Ship聽(1959) and even appeared uncredited as Itchy McRabbitt in聽Li’l Abner聽(1959).

Lewis tried his hand at releasing music during the 1950s, having a chart hit with the song “Rock-a-Bye Your Baby with a Dixie Melody” (a song largely associated with聽Al Jolson聽and later re-popularized by聽Judy Garland) as well as the song, “It All Depends on You” in 1958. He eventually released his own album titled,聽Jerry Lewis Just Sings.

By the end of his contract with producer聽Hal B. Wallis, Lewis had several productions of his own under his belt. In 1959, a contract between Paramount Pictures and Jerry Lewis Productions was signed specifying a payment of $10聽million plus 60% of the profits for 14 films over a seven-year period.

 

In 1960, Lewis finished his contract with Wallis with聽Visit to a Small Planet聽(1960), and wrapped up work on his own production,聽Cinderfella, which was postponed for a Christmas 1960 release, and Paramount, needing a quickie feature film for its summer 1960 schedule, held Lewis to his contract to produce one. Lewis came up with聽The Bellboy聽(1960). Using the聽Fontainebleau Hotel聽in Miami as his setting鈥攁nd on a small budget, with a very tight shooting schedule, and no script鈥擫ewis shot the film by day and performed at the hotel in the evenings.聽Bill Richmond聽collaborated with him on the many sight gags. Lewis later revealed that Paramount was not happy financing a ‘silent movie’ and withdrew backing. Lewis used his own funds to cover the $950,000 budget.

During production Lewis developed the technique of using video cameras and multiple closed circuit monitors, which allowed him to review his performance instantly.

His techniques and methods, documented in his book and his USC class, enabled him to complete most of his films on time and under budget.

Lewis followed聽The Bellboy聽by directing several more films that he co-wrote with Richmond while some were directed by Tashlin, including聽The Ladies Man聽(1961),聽The Errand Boy聽(1961),聽It’s Only Money聽(1962) and聽The Nutty Professor聽(1963). Lewis did a cameo in聽It’s a Mad, Mad, Mad, Mad World聽(1963).

Further Lewis films were聽Who’s Minding the Store?聽(1963),聽The Patsy聽(1964) and聽The Disorderly Orderly聽(1964).

Lewis directed and co-wrote聽The Family Jewels聽(1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl’s beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard. On television, Lewis hosted two different programs called聽The Jerry Lewis Show. The first was a two-hour Saturday night variety show on聽ABC聽in the fall of 1963. The lavish, big-budget production failed to find an audience and was canceled after 13 weeks. His second program was a one-hour variety show on聽NBC聽from 1967 to 1969.

By 1966, Lewis, then 40, was no longer an angular juvenile, his routines seemed more labored and his box office appeal waned to the point where Paramount Pictures new executives felt no further need for the Lewis comedies and did not wish to renew his 1959 profit sharing contract. Undaunted, Lewis packed up and went to聽Columbia Pictures, where he made聽Three On A Couch聽(1966), then appeared in聽Way…Way Out聽(1966) for聽20th Century Fox聽followed by聽The Big Mouth聽(1967),聽Don’t Raise the Bridge, Lower the River聽(1968) and聽Hook, Line & Sinker聽(1969).

Lewis taught a film directing class at the聽University of Southern California聽in Los Angeles for a number of years; his students included聽Steven Spielberg聽and聽George Lucas.]

In 1968, he screened Spielberg’s early film,聽Amblin’聽and told his students, “That’s what filmmaking is all about.”

Lewis directed and made his first offscreen voice performance as a bandleader in聽One More Time聽(1970), which starred聽Sammy Davis Jr.聽(a friend of Lewis). He then produced, directed and starred in聽Which Way to the Front?聽(1970).

He would then make and star in the unreleased聽The Day the Clown Cried聽(1972), a drama set in a Nazi concentration camp.

Lewis rarely discusses the film, but once suggested that litigation over post-production finances prevented the film’s completion and release. However, he admitted during his book tour for聽Dean and Me聽that a major factor for the film’s burial is that he is not proud of the effort. In 1976, Lewis appeared in a revival of聽Hellzapoppin’聽with聽Lynn Redgrave, but it closed on the road before reaching聽Broadway.

After an absence of 11 years, Lewis returned to film in聽Hardly Working聽(1981), a movie in which he both directed and starred.

Despite being panned by critics, the movie eventually earned $50聽million. Lewis next appeared in聽Martin Scorsese‘s film聽The King of Comedy聽(1983), in which he portrayed a late-night television host plagued by two obsessive fans, played by聽Robert De Niro聽and聽Sandra Bernhard. Lewis also appeared in聽Cracking Up聽(1983) and聽Slapstick (Of Another Kind)聽(1984).

In聽France, Lewis starred in both聽To Catch a Cop聽a.k.a. “The Defective Detective” (1984) and聽How Did You Get In?, We Didn’t See You Leave聽(1984). Lewis has stated that as long as he has control over distribution of those movies, they will never have an American release. Meanwhile, a syndicated talk show Lewis hosted for Metromedia in 1984 was not continued beyond the scheduled five shows. Lewis starred in the ABC televised drama movie聽Fight For Life聽(1987) with聽Patty Duke, then appeared in聽Cookie聽(1989).

Lewis had a cameo in聽Mr. Saturday Night聽(1992) while guest appearing in an episode of聽Mad About You聽as an eccentric billionaire. Lewis made his Broadway debut, as a replacement cast member playing the devil in a revival of聽Damn Yankees, choreographed by future movie director聽Rob Marshall聽(Chicago)聽while also starring in the film聽Arizona Dream聽(1994), as a car salesman uncle. Lewis then starred as a father of a young comic in聽Funny Bones聽(1995).

In March 2006, the聽French Minister of Culture聽awarded Lewis the聽L茅gion d’honneur, calling him the “French people’s favorite clown”聽Lewis has remained popular in the country, evidenced by consistent praise by French critics in the influential magazine聽Cahiers du Cin茅ma聽for his absurd comedy, in part because he had gained respect as an聽auteur聽who had total control over all aspects of his films, comparable to聽Howard Hawks聽and聽Alfred Hitchcock.

Liking Lewis has long been a common stereotype about the French in the minds of many English-speakers, and is often the object of jokes in聽English-speaking world聽pop culture.

“That Americans can’t see Jerry Lewis’s genius is bewildering,” says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book聽Why the French Love Jerry Lewis, by Rae Beth Gordon

In 2012, Lewis directed a musical theatre version of聽The Nutty Professor聽(with score by聽Marvin Hamlisch) at the聽Tennessee Performing Arts Center聽in聽Nashville聽from July 31 to August 19 over the summer. Lewis appeared in the Brazilian film聽Till Luck Do Us Part 2聽(2013), then next in a small role in the crime drama聽The Trust聽(2016). Lewis made a comeback in a lead role in聽Max Rose聽(2016).

In an October 6, 2016 interview with聽Inside Edition, Lewis acknowledged that he may not star in any more films given his advanced age, while admitting, through tears, that he was afraid of dying as it would leave his wife and daughter alone.]聽In December of that year, he expressed interest in making another film.

Lewis has been married twice:

  • Patti Palmer (n茅e Esther Grace Calonico), a former singer with聽Ted Fio Ritomarried October 3, 1944, divorced September 1980[
  • SanDee Pitnick; married February 13, 1983; a 32-year-old Las Vegas dancer; married in聽Key Biscayne, Florida

He has six sons (one adopted) and one daughter (adopted):

With Patti Palmer

  • Gary Lewis(born July 31, 1945);聽known for his 1960s pop group聽Gary Lewis & the Playboys
  • Ronald Steven “Ronnie” Lewis (born December 1949 [adopted])
  • Scott Anthony Lewis (born February 22, 1956)
  • Christopher Lewis (born October 1957)
  • Anthony Lewis (born October 1959)
  • Joseph Lewis (born January 1964, died October 24, 2009 [from a聽narcoticsoverdose])[36]

With SanDee Pitnick

  • Danielle Sara Lewis (adopted March 1992)

Lewis has suffered from a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the聽Sands Hotel聽on the聽Las Vegas Strip聽on March 20, 1965.

The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller聽Percodan聽for thirteen years

He says he has been off the drug since 1978.]聽In April 2002, Lewis had a聽Medtronic聽“Synergy”聽neurostimulator聽implanted in his back which has helped reduce the discomfort. He is now one of the company’s leading spokesmen.

In the 2011 documentary聽Method to the Madness of Jerry Lewis,聽Lewis said he suffered his first heart attack while filming聽Cinderfella聽in 1960.

In December 1982, Lewis suffered another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he sustained a minor heart attack .

It was discovered that he had pneumonia as well as a severely damaged heart. He underwent a聽cardiac catheterization聽and two聽stents聽were inserted into one of his coronary arteries, which was 90% blocked. The surgery resulted in increased blood flow to his heart and has allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks.

In 1999, Lewis’ Australian tour was cut short when he had to be hospitalized in聽Darwin聽with viral聽meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100聽million

Lewis has had聽prostate cancer,聽diabetes,聽pulmonary fibrosis and a decades-long history of聽heart disease.聽Prednisone 聽treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance.

In September 2001, Lewis was unable to perform at a planned London charity event at the聽London Palladium.

He was the headlining act, and he was introduced, but did not appear. He had suddenly become unwell, apparently with heart problems. He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from聽hypoglycemia聽at a聽New York Friars’ Club聽event. This latest health issue forced him to cancel a show in Sydney.

Muscular dystrophy activism

Throughout his entire life and prolific career, Lewis was a world renowned humanitarian who has supported fundraising for research into聽muscular dystrophy. Until 2011, he served as national chairman of and spokesman for the聽Muscular Dystrophy Association聽(MDA) (formerly, the聽Muscular Dystrophy Associations of America).

Lewis began hosting telethons to benefit the company from 1952 to 1959, then every聽Labor Day聽weekend from 1966 to 2010, he hosted the live annual聽Jerry Lewis MDA Telethon. Over nearly half a century, he raised over $2.6聽billion in donations for the cause.

On August 3, 2011, it was announced that Lewis would no longer host the MDA telethons聽and is no longer associated with the Muscular Dystrophy Association

On May 1, 2015, it was announced that in view of “the new realities of television viewing and philanthropic giving”, the telethon was being discontinued.

]聽In early 2016, Lewis made an online video statement for the organization on its website, in honor of its rebranding, marking his first appearance in support of the Muscular Dystrophy Association since his final Labor Day Telethon in 2010 and the ending of his tenure as national chairman in 2011.

Theater chain

In 1969, Lewis agreed to lend his name to “Jerry Lewis Cinemas”, offered by National Cinema Corporation as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking films and in other aspects of film exhibition.

A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a “mini-theatre” with a seating capacity of between 200 and 350. In addition to Lewis’s name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.

Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an “individual exhibitor”. For $50,000, the Jerry Lewis Cinemas offered an opportunity known as an “area directorship”, in which investors controlled franchising opportunities in a territory as well as their own cinemas.

The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive films, but after a decade the chain failed. Both Lewis and National Cinema Corp. declared bankruptcy in 1980.

Jerry’s House

In 2010, Lewis met with 7-year-old Lochie Graham who shared his idea for “Jerry’s House”, a place for vulnerable and traumatized children. The Australian charity hope2Day is raising funds to build the facility in聽Melbourne, Australia.

SOURCES : WIKIPEDIA

You can read also
A lire aussi

 

https://radiosatellite.co/2017/11/10/shirley-maclaine

http://www.radiosatellite2.com/archives/2014/07/23/30301103.html

Wonderful


Below聽this picture, 聽a video tracing the evolution of dance ( the 20th century)

dance_marathon_1923

 

Sources : shared.com

OLD COMMERCIAL OLD MOVIES


Westinghouse…Old Spice…Ford…Coca Cola…Old commercials froml the 50s and 60s

 

Publicit茅s anciennes des ann茅es 50 et 60

 

 

 

 

 

 

 

 

 

 

 

 

JERRY LEE LEWIS


Among teenagers of a musical bent, there was much anticipation 50 years ago this week.

Jerry Lee Lewis, an American rock and roll singer with long blond hair who played a frenetic boogie woogie piano while standing up, and often with one foot on the keyboard, was on his way to Britain for a six-week tour.

This may not seem like a big deal today, as rock musicians criss-cross the Atlantic all the time, but in May 1958 it was thrilling.
To us, that first generation of rock fans, this guy was the real thing.

And that was important, because, having been completely overlooked by Elvis Presley who鈥檇 never come to Britain (and who was by then in the U.S. Army, anyway), there was a feeling that we were getting everything second-hand and missing all the fun.

True, we鈥檇 had a couple of would-be early rock stars of our own, but they were limp counterfeits like Tommy Steele, who already seemed to have one eye on becoming the dreaded all-round entertainers.

Jerry Lee Lewis, however, or, “The Killer”, as he was known, had enjoyed two classic worldwide hits with Whole Lotta Shakin鈥 Goin鈥 On and Great Balls Of Fire, and had even appeared in a Hollywood rock film, High School Confidential.

Nor was he middle-aged like Bill Haley. He was young and vital.

Could he possibly live up to his advance billing, those of us who bought the music papers wondered, as we read about him on our way to school.

Would he be the wild man of the Louisiana swamps we鈥檇 been led to believe?

No sooner had he landed at Heathrow than we had our answer, in no small part due to the inquiries of a Daily Mail reporter called Paul Tanfield.

Meeting the star at the airport, Tanfield noticed that there was a very young girl in The Killer鈥檚 party. Tanfield asked whom she might be.

“I鈥檓 Myra,” answered the girl. “Jerry鈥檚 wife.”

Tanfield was astonished. “And how old is Myra?” he asked Jerry Lee.

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“Fifteen,” the singer replied, obviously thinking that sounded suitably mature.

It wasn鈥檛. Despite Lewis鈥檚 assertions that Myra was “a grown woman”, as far as Britain was concerned, she was below the age of consent.

The headlines the next day were not good for the star鈥檚 first day in Britain.

But they were about to get much worse when it was quickly discovered that Lewis, 22 at the time of the wedding, had been lying.

Myra wasn鈥檛 15. She was 13, and, therefore, absolutely not a “grown woman”.

What鈥檚 more, she was the singer鈥檚 first cousin once removed.

And if that wasn鈥檛 enough, it was also revealed that he may have been bigamously married to her, since he hadn鈥檛 yet become divorced from his second wife, whom he鈥檇 married at 17, having wed his first wife at 14.

If you鈥檙e becoming confused, think how we must have felt back in 1958 as the hillbilly courting behaviour of some citizens of America鈥檚 Deep South unfolded in our newspapers.

We’d heard about the phenomenon of the child bride in fiction from the Tennessee Williams鈥 play and the film Baby Doll. But buttoned-up, respectable, repressed Fifties Britain had never come across the real thing before.

With Jerry Lee, the Louisiana swamps had exceeding all expectations in what they had thrown up.

Goodness gracious, as the man himself was wont to sing. This furore soon was great balls of fire!

In this way began one of the most extraordinary episodes in the history of rock music 鈥 and, let鈥檚 face it, there have been quite a few.

Right from the beginning, rock and roll music had been soaked in scandal, perhaps not too surprisingly when it鈥檚 remembered that the actual words “rock and roll” had been, in black American nightclubs, a euphemism for sexual activity long before they became associated with music.

So, when the music swept the world a couple of years earlier, teachers, preachers, parents and pundits alike had been quick to fulminate against聽 the youthful, on-stage gyrations of Elvis Presley, describing them as obscene, and to read into the lyrics of rock songs a lewd carnality which was probably accurate but being missed by most young fans.

Up to this point, however, most of the outrage against rock had happened in America. Now, as Jerry Lee Lewis and Myra arrived in London, a storm of outrage erupted here, too.

And instantly the fashionable Westbury Hotel in London鈥檚 Mayfair, into which The Killer鈥檚 retinue was booked, found itself besieged by competing armies of fans, the Press, police and outraged citizens.

To start with, Lewis seemed to find it difficult to understand what all the fuss was about.

In fact, initially he was quite pleased with all the publicity he was getting.

While, for her part, Myra was happy watching children鈥檚 television in their suite, chirpily telling anyone who would listen that although her husband had given her a red Cadillac, what she really wanted was a wedding ring.

Were this to happen today, any star would instantly surround himself with a legion of publicists who would do their utmost to put a positive gloss on the situation 鈥 not the easiest of tasks, I have to admit.

Come to think of it, just about impossible.

But those were less sophisticated times when it came to media manipulation.

The best thing to do, Jerry Lee decided, was to get on with his tour as if nothing had happened, and, since he maintained he was a God-fearing country boy, to ask the good Lord for help.

Consequently, it is said, he and his whole entourage fell down on their knees and prayed for a full hour before he took the stage at the Gaumont State, Kilburn, North London.

For some reason, God doesn鈥檛 seem to have been listening 鈥 but then in the Southern states where Lewis came from, many people believed that rock and roll was the Devil鈥檚 music.

Whatever the reason, nothing stopped The Killer, dressed in what was described witheringly in one newspaper as a “custard-coloured jacket”, making his British debut to a half-full theatre with a performance that was repeatedly interrupted by whistles and boos and cries of “cradle snatcher” from the audience.

Off stage, things were getting much, much worse.

On learning of Myra鈥檚 age, the police had turned up at the Westbury Hotel to interview the star and his bride, after which their notes were passed on to the Director of Public Prosecutions to see if any British laws had been broken.

Meanwhile, in the House of Commons, the Home Office minister, Iain Macleod, was called upon to answer questions from MPs.

Jerry Lee thought he could struggle on and win the fans round. By now, however, the posh Westbury Hotel had had enough.

The star was asked to leave.

Desperately, Lewis and his manager tried to explain that it wasn鈥檛 that unusual for girls of 13 to marry in Mississippi, and that the marriage to Myra couldn鈥檛 have been bigamous, because at the time of Jerry Lee鈥檚 second marriage he鈥檇 still been married to his first wife.

Thus the second marriage had been null and void, and as he was now divorced from the first wife, everything was fine and dandy!

Neither the newspaper reporters nor the Rank and Grade organisations, in whose theatres the Jerry Lee concerts were to have taken place, were convinced.

After only three appearances, the tour was cancelled, and Jerry Lee and Myra, his managers and hangers-on, were back on a plane to America.

A little less than nine months later, Myra gave birth to a boy.

The maker of some classic rock hits he might have been, but The Killer鈥檚 career never properly recovered. He became a musical pariah.

And after disc jockeys around the world refused to play his records, he never had another big hit.

From $10,000-a-night shows, he was reduced to earning $100 a night.

Myra divorced him in 1970, after 12 years of marriage when she was all of 25, became an estate agent and wrote her autobiography, Great Balls Of Fire, which was filmed with Dennis Quaid as Jerry Lee and Winona Ryder as Myra.

The scandal of 1958 proved, however, to have lasting effects in quite different ways.

It may have been coincidental, but very quickly attempts were made in America to clean up the image of rock and roll.

Payola investigations were begun and several famous disc jockeys were revealed as having taken bribes to play records.

And when the mighty Elvis himself fell in love with a 14-year-old girl, Priscilla Beaulieu, the following year, steps were taken to make sure that not a word of scandal leaked out.

As for us here in Britain, within a few months, we鈥檇 come up with our own pop star, someone whose reputation was, and would remain, cleaner than clean.

His name was Cliff Richard.

One thing, however, couldn鈥檛 be denied. Although the affair had ruined the career of Jerry Lee Lewis, it had also made him very famous, infamous, actually.

And as the Fifties rolled into the Sixties, rock Svengalis-would soon see that the right kind of scandal, carefully managed and well publicised, could work wonders for the careers of rock stars.

Five years later, Andrew Loog Oldham, the young manager of the Rolling Stones, would give a masterclass in how this could be done.

While the nicely-turned out Beatles began to find fame by sticking carefully, in public, anyway, to the goody-goody script neatly mapped out for them by their manager Brian Epstein, Oldham did everything he could to grab outrageous headlines for the five, gurning, rebellious Rolling Stones.

Stunt followed stunt, from urinating in public, to singing more blatantly than anyone else about sex.

If there was a rule to be broken, the Stones broke it, and in the process built legends for themselves as the bad boys of rock and roll.

Indeed, by the mid-Sixties it had got to the point that just about anything could be believed about them, whether true or not.

There never was a Mars Bar at that party with Marianne Faithfull down at Keith Richards鈥 house in 1967, but anyone who had followed their careers in the newspapers believed there was, and the band didn鈥檛 mind at all.

Confrontational in the extreme, they milked scandal about themselves for all it was worth.

Of course, as with Jerry Lee Lewis and every other rock attraction, there were always a lot of girls involved, though none as young as Myra Lewis 鈥 at least, not until, having left the band, 47-year-old bass player Bill Wyman fell for 13-year-old Mandy Smith.

He married her when she was 18.

By the Seventies, outrageous behaviour had become synonymous with rock music, as groups vied with each other for publicity. Some set their amplifiers on fire on stage while others drove cars or pushed grand pianos into swimming pools.

It was all about creating controversy, getting headlines, and nothing to do with music.

Thus the punk group the Sex Pistols swore on television, Ozzy Osbourne was alleged to have bitten the head off a bat and Madonna disgracefully mimed having sex on Top Of The Pops.

And so it goes on, as every new generation of stars struggles to be noticed in the rush.

Sometimes, of course, publicity isn鈥檛 sought, as both Michael Jackson and Phil Spector have recently found in lurid and tragic circumstances.

But, believe me, the bigger the headlines about rock music the greater the stepping stones to stardom.

Quite what Jerry Lee Lewis thinks about the behaviour of some of today鈥檚 musicians would be worth knowing.

Today, at 73, after suffering from bouts of alcoholism and depression, he still tours.

Appreciated by some stalwart fans as one of the pioneers of rock and roll, he is remembered by most of us, if at all, for that week in London 50 years ago when his bizarre marital life shocked the nation.

聽FROM : http://www.dailymail.co.uk/

By RAY CONNOLLY FOR MAILONLINE

http://www.dailymail.co.uk/tvshowbiz/article-1021569/Great-Balls-Scandal-How-Jerry-Lee-Lewis-marriage-13-year-old-wrecked-career.html

 

 

FROM : http://www.dailymail.co.uk/

By RAY CONNOLLY FOR MAILONLINE

Remember Aunt Clara ?? Bewitched?


Marion Lorne (August 12, 1883 鈥 May 9, 1968) was an American actress of stage, film, and television. After a career in theatre in New York and London, Lorne made her first film in 1951, and for the remainder of her life, played small roles in films and television.

Her recurring role, between 1964 and her death in 1968, as Aunt Clara in the comedy series, Bewitched (1964鈥1972) brought her widespread recognition, and for which she was posthumously awarded an Emmy Award for Outstanding Supporting Actress in a Comedy Series. 聽

She was born Marion Lorne MacDougall in West Pittston, Pennsylvania, a small mining town halfway between Wilkes-Barre and Scranton, of Scottish and English immigrant parents. 聽While her year of birth is listed as 1885 on her tombstone, it was usually listed as 1888 when she was alive and the Social Security Death Index lists it as 1883. She studied at the American Academy of Dramatic Arts in New York City.

Career Lorne debuted on Broadway in 1905; she also acted in London theaters, enjoying a flourishing stage career on both sides of the Atlantic Ocean.

In London she had her own theater, the Whitehall, where she had top billing in plays written by Walter Hackett, her husband. None of her productions at the Whitehall had runs shorter than 125 nights.

After appearing in a couple of Vitaphone shorts, including Success (1931) starring Jack Haley, she made her feature film debut in her late 60s in Strangers on a Train (1951), directed by Alfred Hitchcock.

The role was typical of the befuddled, nervous, and somewhat aristocratic matrons that she usually portrayed.

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From 1952-55, Lorne was seen as perpetually confused junior high school English teacher Mrs. Gurney on Mr. Peepers. From 1957鈥58, she co-starred with Joan Caulfield in the NBC sitcom Sally in the role of an elderly widow who happens to be the co-owner of a department store. Although afraid of live television, declaring “I’m a coward when it comes to a live [television] show”, 聽she was persuaded to appear a few times to promote the film The Girl Rush with Rosalind Russell in the mid-1950s.

Between 1958鈥64, she made regular appearances on The Garry Moore Show (1958鈥64). Her last role, as Aunt Clara in Bewitched, brought Lorne her widest fame as a lovable, forgetful witch who is losing her powers due to old age and whose spells usually end in disaster. Aunt Clara is obsessed with doorknobs, often bringing her collection with her on visits.

Lorne had an extensive collection of doorknobs in real life, some of which she used as props in the series.[8] Death She appeared in twenty-seven episodes of Bewitched, and was not replaced after she died of a heart attack in her Manhattan apartment, just prior to the start of production of the show’s fifth season, at the age of 84 on May 9, 1968. Lorne is buried at Ferncliff Cemetery in Greenburgh, New York.

Posthumous The producers of Bewitched recognized that Lorne’s performance as Aunt Clara could not be replicated by another actress. 聽Comedic actress Alice Ghostley was recruited to fill the gap as “Esmeralda”, a different type of befuddled witch with wobbly magic whose spells often went astray.

Coincidentally, Lorne and Ghostley had appeared side-by-side as partygoers in the iconic comedy-drama film The Graduate , made the year before Lorne’s death. 聽She received a posthumous Emmy Award for Outstanding Supporting Actress in a Comedy Series for her work on Bewitched. The statue was accepted by Bewitched star Elizabeth Montgomery. Personal life She was married to playwright Walter Hackett, who died in 1944. WIKIPEDIA 聽SOURCES聽 Personal life She was married to playwright Walter Hackett, who died in 1944.