Food for thought!
The Cure said boys don't cry, however in a survey by UK songwriters and musicians group the Performing Right Society for Music, published online recently has dispelled Robert Smith's theory.
More than 1,700 males responded to the survey, which revealed the top ten "songs that make men cry the most" are as follows:
1. “Everybody Hurts” — R.E.M
2. “Tears in Heaven” — Eric Clapton
3. “Hallelujah” — Leonard Cohen
4. “Nothing Compares 2 U” — Sinead O’Connor
5. “With or Without You” — U2
6. “The Drugs Don’t Work” — The Verve
7. “Candle in the Wind” — Elton John
8. “Streets of Philadelphia” — Bruce Springsteen
9. “Unchained Melody” — Todd Duncan
10. ‘Angels‘ — Robbie Williams
In the light of many reported teen suicides in the US, public awareness is being raised about bullying.
Sir Elton John is among the stars in a new PSA campaign for Cyndi Lauper’s True Colors Fund.
He along with Ricky Martin, and comedienne Wanda Sykes, are among the big names who make appearances in the “Give a Damn” campaign.
The campaign specifically targets acts of aggression and violence based on gender identity and sexual orientation.
For more information go to www.wegiveadamn.org
Now here’s a bit of diet advice that you’ll actually like.
If you want to lose weight, you must get enough sleep.
A study published in the Annals of Internal Medicine says cutting your sleep time from 8.5 hours to 5.5 hours causes you to lose less fat. Researchers aren’t even sure why, but they think it’s because lack of sleep boosts a hormone that stimulates hunger and promotes fat retention.
And those are the last two things you want when you’re trying to diet.
I must go and re-set my alarm to ensure that I get 8.5 hours!
Melbourne's The Age is reporting today that despite twice-cancelled run of LOVE NEVER DIES on Broadway this season, a run of the show is likely to hit Melbourne by mid-2011.
The Age reports: "The composer's Production Company , Really Useful, is to make an announcement in Parliament House next Tuesday that is expected to confirm six months of speculation that Melbourne has snared yet another national premiere.
It coincides with news that one of the most successful shows that Melbourne has seen, Mary Poppins, is closing next March despite hosting near capacity audiences since opening at Her Majesty's in July."
Sam Raimi’s next stint in the director’s chair will come via Disney’s Oz: The Great and Powerful.
Raimi, who has two other projects on his table in addition to Oz, committed to the Disney project with production set to begin next year on the 3D film.
Deadline is reporting that, while not yet locked in, the odds that Robert Downey Jr. will appear in Oz: The Great and Powerful are “looking good.” Though he turned down several initial offers to play a young Oz, it is believed that he has warmed to the role given Raimi’s attachment.
TRIVIA BITS …
Sam and Dave have recoded 11 songs ending with “me” in the title:
Johnny Depp made a spectacular leap to the top of a newly-released Entertainment Weekly's Power List. Topping the 50 Most Powerful Entertainers list, the "Pirates of the Caribbean" star was joined by controversial singer Lady GaGa who secured the runner-up place.
Joining Depp and GaGa on the EW's Power List was talk show host and media mogul Oprah Winfrey, who landed on the third spot. Meanwhile, former "American Idol" judge Simon Cowell and actor/singer Will Smith rounded up the top five.
With Lea Michele performing on this week's episode of Glee a heart-wrenching performance of Barbra Streisand’s "Papa, Can You Hear Me" from Yentl, broadway.com asked readers what other song from Streisand's extensive career they would like Michele to tackle next.
Earning 22% of votes, the Jule Styne and Bob Merrill track appeared in both the original 1964 Broadway production of Funny Girl and its subsequent 1968 film which won Streisand the first of her two Oscars.
The number two spot went to another notable Funny Girl number, "I'm the Greatest Star." The song pulled in 19% of votes. Barbra's rendition of Jerry Herman's "Before the Parade Passes By" marched into third place with 13% of votes. Streisand sang the song, originally performed on Broadway by Carol Channing, as Dolly Levi in the 1969 film version of Hello, Dolly!
"(Theme From) New York, New York": It's the anthem of Broadway's native Empire state, an Academy Award-nominated song and has been played after countless victories (and losses) at Yankee Stadium.
While most audiences associate the song with the late Frank Sinatra, who recorded it for his 1980 album Trilogy: Past Present Future, Broadway fans know Tony and Academy Award winner Liza Minnelli first sang the tune in the 1977 Martin Scorsese film New York, New York.
Broadway.com asked three-time Tony winner John Kander, who composed the song (with lyrics by the late Fred Ebb), to weigh in on the duelling vocalists, once and for all, and name whose version is definitive: Sinatra or Minnelli.
Start spreading the news... the winner is Liza! "She sang it the way it was written," Kander told us. "I’m very grateful for the song’s popularity due to Frank, but we wrote it for her. Fred would’ve said the same."
Producer Graham King’s GK Films has picked up the feature film rights to the hit Broadway musical Jersey Boys.
The musical tells the true story of 1960s rock-n-roll sensation The Four Seasons. Deadline reports that the deal was “groundbreaking” and “in the substantial seven-figures”.
The film will use the music and lyrics of the group’s hits songs which include “Sherry”, “Big Girls Don’t Cry”, “Rag Doll”, “Oh What a Night” and “Can’t Take My Eyes Off You”.
Entertainment Weekly is reporting that The Office will air a GLEE tribute episode, in which the Office staff congregates to watch the FOX hit show, sometime in the near future. No air dates have been revealed yet, however Entertainment Weekly does confirm that the GLEE stars themselves will not be making cameos.
In the November issue, Vanity Fair published a previously unseen archive of Marilyn Monroe’s private writings. For all the millions of words she has inspired, Marilyn Monroe still remains something of a mystery. Now a sensational archive of the actress’s own writing—diaries, poems, and letters—is being published. With exclusive excerpts from the book, Fragments, the author enters the mind of a legend: the scars of sexual abuse; the pain of psychotherapy; the betrayal by her third husband, Arthur Miller; the constant spectre of hereditary madness; and the fierce determination to master her art.
Through the pages of Marilyn’s diaries, we see the whole arc of her tragic life: the transition from starlet to icon, her pursuit of true artistry beyond the “dumb blonde” she was pigeonholed as, and the troubled thoughts that followed her, from childhood, through three marriages, and, ultimately, to her final days. It is clear that the experience of writing was cathartic for her, providing a momentary grasp on the whirlwind of emotions that accompanied her life.
Marilyn left the archive, along with all her personal effects, to her acting teacher Lee Strasberg, but it would take a decade for her estate to be settled. Strasberg died in February 1982, outliving his most famous student by 20 years, and in October 1999 his third wife and widow, Anna Mizrahi Strasberg, auctioned off many of Marilyn’s possessions at Christie’s, netting over $13.4 million, but the Strasbergs continue to license her image, which brings in millions more a year. The main beneficiary is the Lee Strasberg Theatre & Film Institute, on 15th Street off Union Square, in New York City. It is, you might say, the house that Marilyn built.
Several years after inheriting the collection, Anna Strasberg found two boxes containing the current archive, and she arranged for the contents to be published this fall around the world—in the U.S. as Fragments: Poems, Intimate Notes, Letters by Farrar, Straus and Giroux. The archive is a sensational discovery for Marilyn’s biographers and for her fans, who still want to rescue her from the taint of suicide, from the accusations of tawdriness, from the layers of misconceptions and distortions written about her over the years.
At 17, she writes about the marriage and her jealousy of then husband James Dougherty, at times stepping back and analyzing her emotional state of mind. She wrote,
I was greatly attracted to him as one of the [“only” is crossed out] few young men I had no sexual repulsion for besides which it gave me a false sense of security to feel that he was endowed with more overwelming qualities which I did not possess—on paper it all begins to sound terribly logical but the secret midnight meetings the fugetive glance stolen in others company the sharing of the ocean, moon & stars and air aloneness made it a romantic adventure which a young, rather shy girl who didn’t always give that impression because of her desire to belong & develope can thrive on—I had always felt a need to live up to that expectation of my elders.
Her memory of that marriage revolves around her fear that Dougherty preferred a former girlfriend, which may have triggered Marilyn’s sense of unworthiness and vulnerability to men:
Finding myself ofhandedly stood up snubbed my first feeling was not of anger—but the numb pain of rejection & hurt at the destruction of some sort of edealistic image of true love.
My first impulse then was one of complete subjection humiliation, alonement to the male counterpart. (all this thought & writting has made my hands tremble …
She then wonders if this exercise in memory and self-analysis is in fact good for her, writing:
For someone like me its wrong to go through thorough self analisis—I do it enough in thought generalities enough.
Its not to much fun to know yourself to well or think you do—everyone needs a little conciet to carry them through & past the falls.
Described around 1955, this memory fully emerges, with the humiliating aftermath of being punished by her great-aunt Ida Martin, a strict, evangelical Christian paid by Grace Goddard to look after Norma Jeane for several months from 1937 to 1938. (Could this have been the sense-memory exercise that left her weeping in Strasberg’s acting class?) Marilyn wrote,
Ida—I have still
been obeying her—
it’s not only harmful
for me to do so
but unrealality because
life starts from Now
working (doing my tasks that I
have set for myself)
On the stage—I will
not be punished for it
or be whipped
or be threatened
or not be loved
or sent to hell to burn with bad people
feeling that I am also bad.
or be afraid of my [genitals] being
exposed known and seen—
or ashamed of my
In one of the handful of sweet and affecting poems included in this archive, Marilyn, still in the first flush of her love for Arthur Miller and imagining what he might have been like as a young boy, wrote a poem about him:
my love sleeps besides me—
in the faint light—I see his manly jaw
give way—and the mouth of his
with a softness softer
its sensitiveness trembling
his eyes must have look out
wonderously from the cave of the little
boy—when the things he did not understand—
The poem then turns dark, a premonition, perhaps, of how the marriage would end:
but will he look like this when he is dead
oh unbearable fact inevitable
yet sooner would I rather his love die
While staying in England for the production of The Prince and the Showgirl, Marilyn stumbled upon a diary entry of Arthur Miller’s in which he complained that he was “disappointed” in her, and sometimes embarrassed by her in front of his friends.
Marilyn was devastated. One of her greatest fears—that of disappointing those she loved—had come true. His betrayal confirmed what she’d “always been deeply terrified” of: “To really be someone’s wife since I know from life one cannot love another, ever, really,” as she wrote in another “Record” journal entry.
fter this discovery, Marilyn found it so difficult to work that she flew in Dr. Hohenberg from New York. She was having trouble sleeping, relying on barbiturates. On Parkside House stationery, she wrote one night after Miller had gone to bed:
on the screen of pitch blackness
comes/reappears the shapes of monsters
my most steadfast companions …
and the world is sleeping
ah peace I need you—even a
In the summer of 1957, the couple bought a country house in Roxbury, Connecticut. That winter Miller worked on adapting one of his short stories for the screen, “The Misfits,” while Marilyn grappled with her feelings of disappointment and loss:
Starting tomorrow I will take care of myself for that’s all I really have and as I see it now have ever had. Roxbury—I’ve tried to imagine spring all winter—it’s here and I still feel hopeless. I think I hate it here because there is no love here anymore…
In every spring the green [of the ancient maples] is too sharp—though the delicacy in their form is sweet and uncertain—it puts up a good struggle in the wind—trembling all the while… I think I am very lonely—my mind jumps. I see myself in the mirror now, brow furrowed—if I lean close I’ll see—what I don’t want to know—tension, sadness, disappointment, my [“blue” is crossed out] eyes dulled, cheeks flushed with capillaries that look like rivers on maps—hair lying like snakes. The mouth makes me the sadd[est], next to my dead eyes…
When one wants to stay alone as my love (Arthur) indicates the other must stay apart.
In 1958, Marilyn moved back to Los Angeles to begin work in Some Like It Hot, which—despite her chronic lateness and other difficulties on the set—would turn out to be her greatest and most successful comedy. She began recording her musings and poems in a red spiral Livewire notebook, poems that took a dark turn. Here’s one such fragment, written under the ironic heading “After one year of analysis”:
I feel life coming closer
when all I want
Is to die.
You began and ended in air
but where was the middle?
In July of 1960, filming began in the Nevada desert for The Misfits, under John Huston’s direction, with Marilyn, Clark Gable, Montgomery Clift, Thelma Ritter, and Eli Wallach in key roles. On the set he met and fell in love with a photographic archivist on the film, Inge Morath, who would become his third wife. On November 11, 1960, Marilyn and Arthur Miller’s separation was announced to the press.
Three months later, back in New York, emotionally exhausted and under Dr. Kris’s care, Marilyn was committed to Payne Whitney’s psychiatric ward. What was supposed to have been a prescribed rest cure for the overwrought and insomniac actress turned out to be the most harrowing three days of her life.
Kris had driven Marilyn to the sprawling, white-brick New York Hospital—Weill Cornell Medical Center, overlooking the East River at 68th Street. Swathed in a fur coat and using the name Faye Miller, she signed the papers to admit herself, but she quickly found she was being escorted not to a place where she could rest but to a padded room in a locked psychiatric ward. The more she sobbed and begged to be let out, banging on the steel doors, the more the psychiatric staff believed she was indeed psychotic. She was threatened with a straitjacket, and her clothes and purse were taken from her. She was given a forced bath and put into a hospital gown.
On March 1 and 2, 1961, Marilyn wrote an extraordinary, six-page letter to Dr. Greenson vividly describing her ordeal: “There was no empathy at Payne-Whitney—it had a very bad effect—they asked me after putting me in a ‘cell’ (I mean cement blocks and all) for very disturbed depressed patients (except I felt I was in some kind of prison for a crime I hadn’t committed. The inhumanity there I found archaic … everything was under lock and key … the doors have windows so patients can be visible all the time, also, the violence and markings still remain on the walls from former patients.)”
A psychiatrist came in and gave her a physical exam, “including examining the breast for lumps.” She objected, telling him that she’d had a complete physical less than a month before, but that didn’t deter him. After being unable to make a phone call, she felt imprisoned, and so she turned to her actor’s training to find a way out: “I got the idea from a movie I made once called ‘Don’t Bother to Knock,’ ” she wrote to Greenson—an early film in which she had played a disturbed teenage babysitter.
I picked up a light-weight chair and slammed it … against the glass intentionally. It took a lot of banging to get even a small piece of glass—so I went over with the glass concealed in my hand and sat quietly on the bed waiting for them to come in. They did, and I said to them “if you are going to treat me like a nut I’ll act like a nut.”
She threatened to harm herself with the glass if they didn’t let her out, but cutting herself was “the furthest thing from my mind at that moment since you know Dr. Greenson I’m an actress and would never intentionally mark or mar myself, I’m just that vain. Remember when I tried to do away with myself I did it very carefully with ten seconal and ten tuonal and swallowed them with relief (that’s how I felt at the time.)”
When she refused to cooperate with the staff, “two hefty men and two hefty women” picked her up by all fours and carried her in the elevator to the seventh floor of the hospital. (“I must say that at least they had the decency to carry me face down.… I just wept quietly all the way there,” she wrote.)
She was ordered to take another bath—her second since arriving—and then the head administrator came in to question her. “He told me I was a very, very sick girl and had been a very, very sick girl for many years.”
Dr. Kris, who had promised to see her the day after her confinement, failed to show up, and neither Lee Strasberg nor his wife, Paula, to whom she finally managed to write, could get her released, as they were not family. It was Joe DiMaggio who rescued her, swooping in against the objections of the doctors and nurses and removing her from the ward. (He and Marilyn had had something of a reconciliation that Christmas, when DiMaggio sent her “a forest-full of poinsettias.”)
It should be noted that this is one of the few letters that have already seen the light of day.:
Someone when I mentioned his name you used to frown with your moustache and look up at the ceiling. Guess who? He has been (secretly) a very tender friend. I know you won’t believe this but you must trust me with my instincts. It was sort of a fling on the wing. I had never done that before but now I have—but he is very unselfish in bed.
From Yves [Montand] I have heard nothing—but I don’t mind since I have such a strong, tender, wonderful memory.
I am almost weeping.
In November 1961, Marilyn met John F. Kennedy at the Santa Monica home of actor Peter Lawford, the president’s brother-in-law. The following year, in February, she bought her first home, in fashionable Brentwood. She began filming her last movie, Something’s Got to Give, directed by George Cukor, in April of 1962. The now famous outtakes from the unfinished film—Marilyn rising naked and un-shy from a swimming pool—show her fit and radiant, at the top of her game. Her chronic lateness and absences from the set, however—something even Strasberg couldn’t cure her of—caused her to be fired from the picture, which was never completed. Four months later, on August 5, 1962, she would be found dead from a drug overdose in her Brentwood home, an apparent suicide.
Even with the revelations and unexpected pleasures of this soon-to-be-published archive, the deep mystery of her death remains. For those who believe that Marilyn’s death was indeed a suicide, there are many indications of her emotional fragility and a description of a past suicide attempt. “Oh Paula,” she wrote in an undated note to Paula Strasberg, “I wish I knew why I am so anguished. I think maybe I’m crazy like all the other members of my family were, when I was sick I was sure I was. I’m so glad you are with me here!”
For those who believe she died of an accidental overdose, mixing prescribed barbiturates with alcohol, the archive contains evidence of her optimism, her feeling that she has come to rely on herself and will solve her problems through work and her capable, businesslike plans for the future.
And for conspiracy theorists who have always suspected foul play, there is an intriguing note to the effect that Marilyn might have distrusted and even feared J.F.K.’s brother-in-law Peter Lawford, who was the last person to speak to her on the phone. In the handsome, green, engraved Italian diary, probably dating to around 1956, she had appended this fearful note to a short list of people she loved and trusted:
the feeling of violence I’ve had lately
about being afraid
of Peter he might
poison me, etc.
why—strange look in his eyes—strange
in fact now I think I know
why he’s been here so long
because I have a need to
be frighten[ed]—and nothing really
in my personal relationships
(and dealings) lately
have been frightening me—except
for him—I felt very uneasy at different
times with him—the real reason
I was afraid of him—is because I believe
him to be homosexual—not in the
way I love & respect and admire [Jack]
who I feel feels I have talent
and wouldn’t be jealous
of me because I wouldn’t
really want to
whereas Peter wants
to be a woman—and
would like to be me—I think
Marilyn and Lawford, the British actor and bon vivant, had first met in Hollywood in the 1950s. “Jack” is probably Jack Cole, the dancer-choreographer who befriended and coached Marilyn on Gentlemen Prefer Blondes and There’s No Business Like Show Business. (She would not meet “Jack” Kennedy until five years later.)
If this archive doesn’t quite solve the enigma of Marilyn Monroe’s death, it does go deeper than we have ever been into the mystery of her life. As Lee Strasberg noted in his eloquent eulogy, “In her eyes and mine, her career was just beginning. The dream of her talent, which she had nurtured as a child, was not a mirage.”
In other entries, Marilyn wrote:
“I haven’t had Faith in Life
ever it is
There is nothing to
hold on to—but reality
to realize the present
whatever it may be
—because that’s how it
is and it’s much better”
“A full physical checkup with a medical doctor may be wise”: Marilyn actually suffered from severe endometriosis (a condition in which uterine issue grows outside the uterus) her entire life, which may have contributed to her miscarriages and to an ectopic pregnancy later in life.
“Fear of giving me the lines new
maybe I won’t be able to learn them
maybe I’ll make mistakes
people will think I’m no good or laugh or belittle me or think I can’t act.”
“I’m not very bright I guess.
No just dumb/if I had
Any brains I wouldn’t be
On crummy train with this
Crummy girl’s band”
“I would never intentionally mark or mar myself, I’m just that vain. Remember when I tried to do away with myself I did it very carefully with ten Seconol and ten Tuinol and swallowed them with relief (that’s how I felt at the time).”
Fox Searchlight has just announced that filming for The Best Exotic Marigold Hotel will begin on October 10th in India. John Madden will direct an all star cast featuring Judi Dench, Maggie Smith, Tom Wilkinson, Bill Nighy and Dev Patel.
The Best Exotic Marigold Hotel follows a group of British retirees who decide to “outsource” their retirement to less expensive and seemingly exotic India. Enticed by advertisements for the newly restored Marigold Hotel and bolstered with visions of a life of leisure, they arrive to find the palace a shell of its former self. Though the new environment is less luxurious than imagined, they are forever transformed by their shared experiences, discovering that life and love can begin again when you let go of the past.
Warner Bros. has released seven new character movie posters from Harry Potter and the Deathly Hallows Part I on their official twitter page.
Included in the bunch are Harry (Daniel Radcliffe), Ron (Rupert Grint), Hermione (Emma Watson), Fenrir Grayback (Dave Legeno), Voldemort (Ralph Fiennes), Bellatrix Lestrange (Helena Bonhan Carter) and Snape (Alan Rickman).
Filming on the "Sherlock Holmes" sequel was halted earlier this week after Robert Downey Jr. fell ill, according to a new report. The follow-up to Guy Ritchie's 2009 film is currently filming in London, but Robert pulled out of the shoot on Tuesday, October 5 after complaining he felt unwell, reports Britain's The Sun.
A source told the newspaper, "Everyone was fired up and ready to go. Word filtered around that Robert had a bit of a sniffle and wouldn't be coming in. It was a bit of a shock."
"Sherlock Holmes 2" is due to be released in Australia on 02 January 2012. Noomi Rapace, Stephen Fry and Jared Harris have joined Downey Jr. and Jude Law as the new cast.
Lynda Carter, the singing actress best known for her work on the TV series "Wonder Woman," will bring her new concert act to Feinstein's at Loews Regency, New York next month.
Carter, who played Matron "Mama" Morton in the London company of Chicago, will offer Wicked Cool at the Manhattan nightspot Nov. 9-13.
Lynda Carter in the late 1970s released her first album "Portrait," and sang two of its songs in the 1979 "Wonder Woman" episode, "Amazon Hot Wax." Her second solo album, "At Last," 30 years later, which reached number six in the US Billboard charts. Lynda has recently toured the US including New York and Washington, DC. She has produced and starred in five Emmy Award-winning TV specials.
Feinstein's at Loews Regency is located at 540 Park Avenue at 61st Street in New York City.
Singer Davy Jones has announced plans to reform The Monkees, just a year after ruling out a reunion with his band mates. The "I'm a Believer" hit makers, who found fame in the 1960s, last performed together in 1997 but, in an interview last year, Jones claimed a Monkees show would never happen again.
He said, "It's not a case of dollars and cents. It's a case of satisfying yourself. I don't have anything to prove. The Monkees proved it for me." However, the singer appears to have had a change of heart - the group is eyeing a string of concerts in 2011.
Jones says, "We're talking about doing a tour next year with The Monkees. There's talk about a show with dialogue." But the 64 year old is urging his band mates to shape up before they hit the stage again: "My thing is I just don't want to get on stage with a bunch of old guys."