> Does anyone else always lose something when they move I had a box with that
> and my original punk LP's go.
I had a fire in my room and lost my entire punk and new wave collection in
1980.
Mo
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Date: Tue, 20 Jun 2000 11:20:10 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: (exotica) I didn't know this, but...
According to this article
http://dailynews.yahoo.com/h/nm/20000620/en/people-archerd_12.html the
"think" music used in the final round of the game show was written by Merv
Griffin!
Also, Nancy Marchand of "Lou Grant" and "The Sopranos" died, but I won't
believe it until I hear from Lou Smith, of course.
Brian Phillips
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Date: Tue, 20 Jun 2000 11:49:22 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Nancy Marchand (was: I didn't know this)
Brian Phillips <hagar@mindspring.net> wrote:
> Also, Nancy Marchand of "Lou Grant" and "The Sopranos" died, but I won't
believe it until I hear from Lou Smith, of course.
June 20, 2000
Nancy Marchand, 71, Player of Imperious Roles, Dies
By MEL GUSSOW
June 20, 2000
Nancy Marchand, the distinguished character actress who excelled at playing wise and imperious authority figures -- newspaper publishers, queens, grande dames and a madam -- and who achieved perhaps her greatest fame as the domineering mother of a mob boss in the television series "The Sopranos," died on Sunday at her home in Stratford, Conn., one day short of her 72nd birthday. She also had a home in Manhattan.
Her daughter Katie Sparer Bowe said that no specific cause of death was given, but for several years the actress had been suffering from cancer and chronic pulmonary disease.
A wide diversity of playwrights -- among them Chekhov, Shaw and Shakespeare as well as Jean Genet, Paul Osborn and A. R. Gurney -- was within Ms. Marchand's range. She once described her physical presence as "a strange combination of being very imposing and down-to-earth," an accurate assessment of the seemingly contradictory image she projected.
That description could be applied to the overburdened wife she played in the 1980 Broadway revival of Osborn's "Morning's at Seven," the patrician publisher on the long-running "Lou Grant" television series and her portrayal of Livia Soprano, the monster mother of them all, a woman bred into the Mafia who without a blink of hesitation sets up her son Tony to be assassinated because he has moved her to a nursing home.
Except for her indomitability, Livia was in direct contrast to all the "tasteful ladies" Ms. Marchand played in her busy career. At 70, after more than 50 years of acting, she discovered a new popularity, and it was for playing a wildly unsympathetic character. Livia Soprano was a role that she compared to that of Caligula's mother in "I Claudius," a woman who also happened to be named Livia.
Throughout her career, Ms. Marchand gave her roles an unexpected edge. Even when her characters were at their most officious, they retained a measure of charm, and her more affectionate characters could also be sardonic. She was an expert at both light and more serious comedy, moving effortlessly from the outrageous antics in the movie spoof "The Naked Gun," to Lady Bracknell in "The Importance of Being Earnest."
In plays like "Morning's at Seven," she warmed an audience's collective heart, but she never wore her own heart on her sleeve, avoiding the cul de sac of sentimentality. Instead she was wily in performance, turning in an instant from comedy to poignance.
Often she acted onstage with her husband, Paul Sparer -- in everything from "A Phoenix Too Frequent" by Christopher Fry to Edward Albee's "Delicate Balance" to Mr. Gurney's "Love Letters." Mr. Sparer also had his own rewarding career in plays that included Elie Wiesel's "Zalmen, or the Madness of God" and "The Burnt Flowerbed" by Ugo Betti. Individually and together they were ultimate theatrical professionals.
Mr. Sparer died in November. In addition to her daughter Katie, an actress who lives in Stratford, Ms. Marchand is survived by a son, David of Madison, Wis.; another daughter, Rachel Sparer Bersier, an opera singer of Manhattan; and seven grandchildren.
Offstage, Ms. Marchand was the reverse of so many of her strong-willed characters, a woman with a natural sense of insecurity, someone who felt uneasy in social situations. "I'm always very uncomfortable with people." she once explained in an interview in The New York Times. "It's something that I get upset with myself for, but that's the way I am. But I love people. And when I'm on the stage, I can embrace people and still feel safe. There are a lot of different facets to my personality that I don't use all the time in my house, or in everyday life, that I can experience and share when I'm on a stage."
Her roles, she said, were more a question of chance than choice. But whatever she was called on to do, even if it meant being as malevolent as Livia Soprano, she did it with enthusiasm. As always, she was captivated by her profession. Looking back on her career, she said, "Acting was something I had to do."
Nancy Marchand was born in Buffalo on June 19, 1928. After studying theater at Carnegie Institute of Technology in Pittsburgh, she made her first professional appearance onstage in 1946 in "The Late George Apley" in Ogunquit, Me. It was while acting in Shakespeare and Shaw at the Brattle Theater in Cambridge, Mass., that she met -- and then married -- Mr. Sparer. When they moved to New York, she appeared on live television, playing Jo in a dramatization of "Little Women," and then playing the female lead opposite Rod Steiger in the original television version of Paddy Chayefsky's "Marty."
In 1957 she made her Broadway debut in "Miss Isobel," and two years later won an Obie award for her role as Madame Irma in the Off Broadway premiere of "The Balcony" by Genet. For several years she played leading Shakespearean roles with the American Shakespeare Theater in Stratford, Conn. As an original member of the A.P.A. theater company (formally the Association of Producing Artists), she was Lady Sneerwell in "The School for Scandal," Arkadina in "The Seagull," Dona Ana in "Man and Superman" and other classic characters.
Continuing her devotion to repertory theater, she joined the theater at Lincoln Center to act in plays by Schiller (Queen Elizabeth in "Mary Stuart"), Gorky and Sean O'Casey ("The Plough and the Stars" with Jack MacGowran).
Ms. Marchand worked with equal ease on Broadway, off Broadway and in regional theater, as well as in movies and on television. In the 1980's she played the title role in Christopher Durang's "Sister Mary Ignatius Explains It All for You," Bessie Berger in Clifford Odets's "Awake and Sing" at Circle in the Square, Klytemnestra in Ezra Pound's "Elektra" and the august mother in "The Cocktail Hour" by Mr. Gurney.
In the following decade, she moved on to Jon Robin Baitz's "End of the Day" at Playwrights Horizons, and, in 1993, acted in a double header of Peter Shaffer plays, "Black Comedy" and "White Liars," at the Roundabout Theater Company. That same year she also played the wicked stepmother in a revival of Rodgers and Hammerstein's "Cinderella" at the New York City Opera.
Her movie appearances included "The Hospital"; two films with the team of Merchant Ivory, "The Bostonians" and "Jefferson in Paris"; and the remake of "Sabrina," in which she played Harrison Ford's mother. When she played Mrs. Pynchon, the publisher of The Los Angeles Tribune on "Lou Grant," the role became a keystone of her career; for it she won four Emmy awards. Some years later on television's "Spearfield's Daughter," she switched cities and became the publisher of The New York Courier.
When Ms. Marchand played Livia Soprano on "The Sopranos," television viewers wondered how her son Tony, played by James Gandolfini, and his wife (Edie Falco) could put up with her malice and her prejudices. The answer, of course, was that there was nothing much they could do against this self-dramatizing force of nature.
At the end of the show's first season, Tony was about to smother his mother with a pillow, but a stroke got there first and she was left gasping for breath in a hospital bed. David Chase, the creator of the Home Box Office series, said yesterday that he always planned to bring Livia back for a second year. He added that he was impressed by Ms. Marchand's courage as she continued to perform despite her illness.
When that season ended, Ms. Marchand said she was looking forward to the second round: "Who knows what lurks in the mind of Livia?" Viewers soon found out: more of the same.
During the last show of the second season, there was a sudden twist in the narrative. Tony gave his mother airline tickets so that she and his aunt could fly to Arizona. Before she could get on the plane, Livia was stopped by men from airport security. The tickets were stolen property. Frantically, she telephoned her son.
Because filming on the third season of "Sopranos" was not scheduled to begin until Aug. 1, that scene represents Ms. Marchand's final performance: about to be arrested and furious at Tony for putting her in that predicament. Mr. Chase would not discuss forthcoming events in the series, but if the actress had lived, undoubtedly the mother and son battle would have continued and Livia Soprano would have had the last word.
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------------------------------
Date: Tue, 20 Jun 2000 16:19:58 GMT
From: "james brouwer" <jamesbrouwer@hotmail.com>
Subject: (exotica) Re: MO Kraftwerk-like
mo responded to
> >
> > The White Noise is a little bit in this vein too
>
>By any means: No! Maybe some of Dave Vorhaus's solo-works are, but
>definitley
>not any of the two White Noise LPs.
I was making a comparison to Silver Apples, which Ben had initiated, not
Kraftwerk. But I'll agree that White Noise don't sound much like Silver
Apples either. I'll agree that it's a bit of a stretch, but it wasn't really
my point anyhow. It was more of a recommendation based on the fact that the
original enquirer found St Ettienne "too sugary", so I was trying to suggest
stuff with an electronic element that he might like. White Noise definitely
ain't "sugary" so I mentioned it.
>
> > everyone should like Can or Faust
>
>Faust maybe, Can no.
we'll have to agree to REALLY disagree on this one. which is cool since
disagreement is more interesting than its contrary
> > I'd stay away from Tangerine Dream though.
>
>You better! No comparison to Kraftwerk whatsoever!
yeah, that and the fact that its noodlesome shite.
I think its easier to hear the Kraftwerk-like in a lot of 80's bands and
very few bands that were contemporary with Kraftwerk themselves. Exceptions
Subject: Re: (exotica) world's longest yard sale on tv
It is an annual thing. It takes place in August.
- - Paul
Peter Risser" wrote:
>
> Do they still do this? I thought it was a one time thing...
>
> Peter
>
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------------------------------
Date: Tue, 20 Jun 2000 21:40:05 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: Re: (exotica) Re: Beneath The Planet Of The Apes
> i LOVE Jerry Goldsmith's score for the original "Planet of the
> Apes"! here's what i once wrote about it:
Thanks for the reprint of the review. I have the soundtrack...
...on 8-track! I even have the player to play it on.
Brian Phillips
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Date: Tue, 20 Jun 2000 20:54:01 -0700
From: "paul thomas" <hepcatpaul@mailcity.com>
Subject: (exotica) garage sale behaviour
Brian Philips wrote:
"What is the worst behavior that you have seen at a garage sale?"
~~>There's a local fellow who is the garage saler's nightmare. He's the fellow who camps in front of a house at three a.m. in order to be first in line the next day. He's been known to arrive just as the sale is starting and dash to the front of the line like thw White Rabbit in Alice In Wonderland ... "I'm late, I'm late..." My boss is the only one who calls him on this (I think people are just too shocked at rude behaviour to be able to say anything). I've met him twice and he's really obnoxious ... typically the type who couldn't care less, too.
One of the strangest things I've encountered was when I was on a mission to check out some Playboy magazines from the 1950s thru 1980s and the fellow insisted on cooking a ham for me. Well, that and another Playboy mission where the woman kept telling me about her dentures. In detail.
