REMEMBERING COMEDIENNE DILLER

Comedienne Phyllis Diller, age 95, died peacefully in her Los Angeles home Monday, August 20, 2012.  She had retired from performing, but her humorous one-liners will live on.  She paved the way for women stand-up comics today.   

On the occasion of her 90th birthday, July 17, 2007  I wrote a congratulatory greeting heralding her talents with many more particulars about her you can read by going to my archives for that date (for some reason Blogger won't allow me to provide a link on her birth date above.)  I described the circumstances when I had enjoyed having the opportunity to meet Ms Diller briefly a few times when I was employed at a television station.  Up date follows -- current info and  videos.

Phyllis Diller comment on her first-ever television appearance on "You Bet Your Life," with Groucho Marx.

 

A few years later Phyllis Diller arrived unaccompanied at our Columbus station.  After asking the  taxicab driver to wait until she competed her appearance she headed inside.   The receptionist immediately recognizing Ms Diller directed her down the hall toward the television studios.   We all knew of the small community Lima, Ohio home town gal who had become a celebrity making people laugh.   She always arrived like this, quite unassuming, without an entourage, unlike numerous guests much less well-known.   

Ms Diller invariably agreed to appear on our early morning talk show when she was booked into the most prominent night club in town, though likely her last show hadn't ended until the wee hours of that very morning.   I met her as she walked toward me past the station's broadcast talent pictures lining the hallway, and directed her into our smaller studio. 

She would not have long to await her entrance to the larger studio where the program was already being broadcast live as fifty plus audience members who had traveled in, some by bus, from around the state observed.  They soon learned Phyllis Diller would be the guest resulting in their high anticipation of actually seeing her in person.  The host would introduce her and the quintet would play rousing lively music that might be most recently associated with her, from a network TV appearance or movie.    Soon those famous one-liner jokes would have everyone, including control room engineers laughing uproariously like the home viewing audience was sure to be doing.

Many years later here's footage from Phyllis Diller's final stand-up performance - from "Goodnight, We Love You."

 Phyllis Diller's interview on "The View"

Phyllis Diller brought much laughter into the lives of many people, including me, as with  these one-liners:   

"Always be nice to your children because they are the ones who will choose your rest home."

"Old age is where the liver spots show through your gloves."

RIP

 

 

 

Phyllis Diller -- Happy 90th Birthday !

The first solo female stand-up comedienne I ever saw perform was Phyllis Diller in the 1950s. She had a somewhat outrageous appearance, offered a humorous perspective on life, that resulted in almost automatic laughter from her audience. Her jokes were often accented by her own "deep throaty laughter." She is thought by many to be "...a pioneer of female stand-up comedy" as noted HERE where you can read more about her and see a most recent picture taken in February 2007.

You'll read of her many movies, television shows, other talents, including the fact "Phyllis Diller has appeared as a piano soloist with 100 symphony orchestras across the country..." She, also, often performed with one of her favorite comedians, Bob Hope, entertaining our military troops on USO tours around the world.

She elicited many laughs describing life, including family interactions, sometimes portraying a fictional version wife and mother. She created characters many thought to be actual people, such as her husband "Fang." She said, even her real eventual ex-husband wanted to be thought of as Fang.

Some of her one-liners can be read at BrainyQuote including these about being old:

"You know you're old if they have discontinued your blood type."

"You know you're old if your walker has an airbag."

I have continued to enjoy her humor through the years. I don't recall being aware of any solo female stand-up comics until she came on the scene. The fact that she came from my home state at the time, and a city not too far from where I was living, pleased me that "local gal makes good."

She was appearing at a rather exclusive local supper club, Danny Deeds' The Maramor, where celebrity stars generally performed when they made appearances in our city when I saw her. I was elated when she agreed to make a guest appearance on the local live TV show with which in earlier posts I have mentioned my association. Subsequent years she usually made a guest appearance whenever she was performing in town.

I was always impressed with her manner as she had achieved international star status by that time, but made no pretense at being other than her ordinary self. She always arrived promptly at our studios unaccompanied, unlike some entertainers who came with a large entourage. She had the taxicab driver wait for her, then left after her appearance, equally unobtrusively.

Our station did not provide the luxury of a special room in which guests could relax with beverages and treats prior to their appearances, unlike television networks' "Green Rooms," but she didn't protest. Instead she was ushered into our other smaller studio that wasn't in immediate use. Each time she appeared, off camera she was very genuine, unassuming, friendly, what is sometimes characterized as down to earth. She often engaged in entertaining banter, likely as warm-up for her appearance, with any of us present, along with some of our technical staff who managed to find some excuse to come into the studio where we were.

Once she was on camera her quick repartee' followed by her loud laughter had our cast, studio audience and staff joining along with her. Our at home audience likely was infected with that same raucous laughing reaction as we were.

You can hear her laughter and comments by listening to an NPR "Weekend Edition" audio interview with Scott Simon, see several video excerpts from a documentary, "Goodnight, I Love You," and learn about her book Like A Lampshade In A Whorehouse.


One feature in her comic routines often made reference to her eccentric looking appearance. Her hair standing straight out from her head, looked as though it was electrified. She often humorously belittled her own facial features, especially her nose, not unlike the attitude of many women toward their bodies. Truth be known, some women probably responded with laughter to this self-deprecating humor as did I. Even then the worship of youth, facial and body perfection features was, and has continued to be promoted as the appearance to be emanated for all women at whatever the cost.

How refreshing it had been to see a woman overcome that idea by becoming a star, a celebrity, loved by many men and women world-wide. She went out of her way to not adopt the desired perfect appearance, or even try to approximate it. On some level, I always thought that was part of her attraction, certainly a focus of her humor.

I must admit to thinking she just might have let down all those women when some years ago I read that she had undergone plastic surgery to "correct" those "flaws" about which she had for so long humorously lamented. I suppose there are several ways in which to view her actions. For some women I expect they shared the same disappointment I felt that the face with which she had achieved stardom, at a level beyond that which many of near-perfect sculpture never acquire, had been rejected.

On the other hand, she was at least characteristically honest and forthright as she well should have been. Her appearance was altered, so to deny she had surgery as so many do, would have been unbelievable. She did receive recognition for her public revelation as noted in this biographical quote with picture HERE:
"She was recently honored by the American Academy of Cosmetic Surgery for having the courage to publicly bring plastic surgery "out of the closet." A 2007 photo of her is HERE.

One other view on the pros and cons of cosmetic surgery is that her body is her own, she earned the money her surgery cost, therefore she is fully entitled to do as she pleases. That's certainly a philosophy I support, that a woman's body is her own, as is the right to make decisions about the welfare of that body.

Still, I think there are wider implications impacting health care, cosmetic surgery and all who are aging as we all are. Some thoughts well worth considering have to do with the effects of perpetuating the youth-look as the ideal over a natural aging appearance. Regrettably artificially acquired youth-seeking looks may magnify adverse attitudes in our society toward aging. I have expressed my personal view on that topic in archive post (11/16/06) "Redhead Aging Naturally".

I respect Phyllis Diller's right to make the choice she did for her own cosmetic surgery. I continue to laugh at most of her jokes. I think she was a ground-breaking entertainer whose feat should make all women proud. I speak of her in the past tense as an entertainer, only because she is retired though she is obviously alive and well. I envy those lucky friends and family around her that I'll bet she continues to regale with her special humor.

Happy 90th birthday, Phyllis Diller ... and many more !

Here's a news item link I just located HERE. Seems we need to send a "Get Well" wish to Phyllis Diller, too, because she injured her back.

PIANIST BOB ALLEN - MASTER MUSICIAN

Music has been on my mind since viewing the recent televised Grammy Awards that I intended to write about. Then, yesterday I was startled to receive an email informing me Columbus, Ohio pianist Bob Allen, a truly master musician, was experiencing a serious medical challenge. Bob has undergone a double leg amputation. My husband had regularly performed with Bob as part of a piano bass duo years ago.

The Columbus jazz community wants to help Bob by arranging a benefit concert. I am unable to attend but perhaps the information here will reach some interested readers, fans and friends.

Twelve of Columbus’ finest jazz pianists will perform in Mees Hall at Capital University, whose Music Department is well known for producing superb quality musicians.

A great afternoon of jazz is scheduled Sunday, March 6th at 2 P.M.
No Reserved Seating. Donations Accepted at the Door, or send donations to:
Bob Allen Support Fund, 8415 Springston Lane, Columbus, Ohio 43235


Here’s Bob playing his unique piano solo arrangement of “One Less Bell To Answer”



Bob Allen’s music has been enjoyed for almost fifty years with his appearances in the U. S. and Canada. Bob Allen (Phrahin,) blind since birth, spent his early years in Cleveland, where he began studying piano at age six. He studied classical music, graduated from Capital University, played with symphonies, and teaches classical piano. Bob has created a distinctive musical style unmistakably his own with classical influences evident in jazz and pop standards.

“His arrangements encompass a wide range of musical idioms, from well-known standards to original compositions. He is noted for the classical touches which frequently adorn his work.”

Barbara Zuck wrote in the Columbus Dispatch newspaper a very descriptive account of an evening listening to The Bob Allen Trio in the lounge at Hyde Park Grille steakhouse in Upper Arlington, Ohio, north of Columbus. His Trio has appeared there regularly for numerous years having previously performed at various other area popular clubs, restaurants and lounges. Two of Bob’s most well-known Columbus music venues were The Maramor and The Christopher Inn (neither exist now) where famous entertainers including Mel Torme, Tony Bennett, George Shearing (a friend of Bob’s who died recently, also a blind pianist,) Carol Channing, Gordon and Sheila MacRae, Betty Hutton, Julie Wilson - Supperclub Chanteuse, and comedienne Phyllis Diller entertained to name only a few.

Ms Zuck shared her impression of one of Bob’s performances that she attended on an April 2006 night. I was reminded of a summer night three months later when I was in Columbus listening to the Trio after traveling from California to join family and friends. Earlier in the afternoon friends had arranged a special memorial service celebrating my recently deceased husband’s life during which Bob had graciously played a few special piano solo numbers. Ms Zuck wrote the following about her evening listening to Bob’s trio which was much as I experienced the night after the service.

“Midway through the first number, On the Street Where You Live, he [Bob] tore into an improvisation in the 18 th-century counterpoint style of Bach.
‘‘He is like an orchestra," said Paul Hickfang, professor emeritus at Ohio State University’s School of Music. ‘‘He is an orchestra. He commands your attention. He’s an artist with any and all genres of music. He makes me cry, and he’ll make you jump for joy with Bach, Mozart or the Beatles."

Ms Zuck continues:
“On that Saturday night, Allen teased listeners by dropping Rachmaninoff and Schumann into well-known tunes by Richard Rodgers and Henry Mancini.
‘‘I don’t always play what most people call jazz," he [Bob Allen] said. ‘‘I like to take a popular tune and use it as raw material for a composition so that the original song assumes lesser importance than the new piece I am playing. That’s good or bad, depending on how you feel about the song."

I first met Bob at a newly opened Stouffer’s University Inn on Olentangy River Road next to the WLWC-TV station north of Ohio State University where I worked when I first began dating my future husband. My husband-to-be, Morrie, was part of a duo accompanying on bass Bob’s already special piano arrangements. A year or so later the spectacular new Christopher Inn opened down town where the duo began playing regularly. By that time Morrie and I were married. Many of the famous entertainers appearing at The Maramor, or elsewhere, would stop by after their shows to listen to Bob. We moved away from the area, but Bob continued performing, and formed new groups through the succeeding years. The Inn supported Bob recording a 33 1/3 rpm vinyl album of his then trio, a copy of which we were able to obtain when we later visited town and I still have. Bob confirmed a humorous story Ms Zuck relates in her article about Phyllis Diller’s outspoken forceful reaction to an inconsiderate noisy audience member when he was performing. Ms Diller had stopped by to hear Bob play one night after her Maramor appearance.

The Bob Allen Trio of recent years has consisted of Roger Hines bassist and Joe Ong, percussionist. Hines was musical director touring with Grammy Award-winning jazz vocalist Diane Schuur. He also toured and recorded with Ray Charles until Charles death in 2004. Ong has studied at Bowling Green State University, Capital University, and lectured at Ohio State University. His performances have included tours in the United States and Europe.

Columbus, Ohio has a very active musician community including The Jazz Arts Group of Columbus (JAG.) JAG “is America’s oldest not-for-profit arts organization dedicated to producing, performing and promoting jazz. The Jazz Arts Group (JAG) divides its resources among two areas: performance and education. JAG serves as an “umbrella” organization to the Columbus Jazz Orchestra (CJO.)"

"The Columbus Jazz Orchestra (CJO) was formed as a vehicle to create performance opportunities for jazz musicians in a big band setting,for over 35 years…the CJO audience has the largest jazz orchestra subscription base in the United States. The CJO performs an outdoor summer concert series, JazZoo!, at the Columbus Zoo and Aquarium. JAG has broadened its performance scope by presenting a contemporary music series. The Jazz Arts Group believes in the power of music to transform lives and is committed to offering lifelong-learning opportunities for individuals of all ages, interests, backgrounds and abilities."

I hope the power of music will sustain Bob Allen in his recovery. I look forward to his return to the piano’s 88 ivorys and any adaptations he may choose. Perhaps there will be demand for a re-issue of his unique music creations from some of his previous LP and/or CD recordings.

INCIDENTAL EXPERIENCES UNUSUAL -- PART 4

The U.S. political party 2020 Presidential nominating conventions have officially selected their candidates in a unique somewhat virtual manner due to safety precautions deadly Covid-19 has necessitated.   Take a deep breath and prepare for the unpredictable onslaught of campaign rhetoric.   We must watch out for “truthiness” and those “alternative facts”, and be sure to verify statements presented as factual. 

Let’s digress with a little upbeat dancin’!     

A youtube commenter wrote the founder of this 70’s Grammy award winning group’s description of this funky tune’s origins.   Fifty years later seems apropos now as we enter September.   

   “According to Maurice White, he got the idea for this song in an unlikely place: a hotel room in Washington DC while there was some kind of protest going on below. Said White, "There's all these cats screaming and throwing things and going crazy and this tune just evolved."  

    

SEPTEMBER by Earth, Wind and Fire     

 

Chorus:

Hey, hey, hey!

Ba-dee-ya, say, do you remember?

Ba-dee-ya, dancin' in September

Ba-dee-ya, never was a cloudy day 

  

 

INCIDENTAL EXPERIENCES  PART 4 continues....

 

This tale started some weeks ago with a simple idea of describing what a strange on-the-job training experience I had when I was hired in production for a live television talk show years ago that I described in this series first two blog posts.   Related memories incidental to the story’s point unexpectedly began emerging in my mind which I have kept adding here for better or worse.   I’ve also revealed recollections of our show’s host whose friendship was an interesting addition to my life for a number of years.

 

Writing in Part 3 about the previously described unglamorous meager comforts our TV station offered show guests triggered recollections of a few of those who graced our stage.   A favorite of mine was comedian, native Ohioan, Phyllis Diller at her performing and movie stardom’s height then who appeared each time she was in town.   She was performing at the area’s premiere night club, Danny Deeds Maramor, but always arrived for our TV show’s early morning hour by herself in a cab she asked to wait for her, then after her appearance she quietly and quickly left inconspicuously.   

 

Another significant guest then, was Gardner McKay, a sudden heart throb star in TV’s “Adventures in Paradise” series created by Pulitzer prize winner James Michener, author of Tales of the South Pacific, a quite admired book in those days.  The Broadway musical, then movie, “South Pacific”, also prompted by the book, were partially revered for a story line uniquely unheard of then with its frank treatment of racial prejudice -- still pertinent today.  

 

Here’s “A nostalgic look at Tahiti and the schooner TIKI ... built especially for the TV series.  Dorcas Cochran and Lionel Newman composed the beautiful theme music ... for a few episodes they collaborated with Henry Mancini.” 

 

Handsome 6 ft 5 inches tall McKay rejecting acting celebrity left show biz when his series ended, unwilling to renew his contract, turning down a role with Marilyn Monroe despite her personal pleas.  He chose to lead an unusual life you can read about in the McKay link above.   In contrast to Diller, McKay, though pleasant, came to our studio with a surprisingly large entourage which may have reflected a new star’s initial reaction to fame surrounding himself with supporters.  

  

The bigger the star, generally the nicer they seemed to be, the more likely to be alone or accompanied by only one other person. I recall then popular orchestra leader Vaughn Monroe, “Racing With The Moon”, who was exceptionally nice telling an aspiring young musician in our audience who unexpectedly approached him, to see him after the show when he then provided counseling as promised.    Internationally known blind jazz pianist George Shearing who did have an assistant for obvious reasons who cautioned me not to ask Shearing for his signature which I wouldn’t have.  

 

The Frank Sinatra impersonator whose name I now forget, but he could have fooled anybody and had our audience gasping when they first glimpsed him enter the studio, was another memorable guest; also entertaining trumpeter Wild Bill Davidson.  There was laughter for all with comedians such as Henny Youngman who came out of vaudeville, famous for his one liners like, “Take my wife .... please!”.   

 

Well remembered was good-looking popular singer Jack Jones who had women in the audience swooning; even the older ones who remembered his father actor, tenor Allan Jones.  On the night of son Jack’s birth this father recorded his hit “Donkey Serenade”.   Here are Jack Jones and Alan Jones on a “Love Boat” episode singing together many years later.

Jazz and pop song vocalist Nancy Wilson at her career’s peak was a local girl made good coming home to promote a friend opening a new club, The Sacred Mushroom,  near the Ohio State University campus.   Following world-renowned jazz musician Dizzy Gillespie’s appearance my husband and I enjoyed his night club performance though we were surprisingly part of only a very sparse audience in a small nondescript rough little place with unpainted wooden bleacher-type seating located in the city’s minority community.   

Then there was talented international stage and movie actor Walter Slezak who strained my talents by asking me to sew a button on his raincoat.  This necessitated my racing all over the station trying to find a needle and thread ... of any color ... anywhere ... we didn’t have a costume department!

 

I can’t forget blustery broadcaster Arthur Godfrey “the old redhead”, who successfully transitioned from radio stardom to become top of the nation’s television viewer popularity heap for several years until he instantly fell out of favor on the network and with the viewing public for unexpectedly firing much-loved singer Julius LaRosa on the live show.  (Read this Awkward Moments link describing TV’s vagaries.) 

On our show’s air Godfrey had accepted our host’s unthinking offer of a cup of hot tea  causing me to have to scour the station to finally come up with one old tea bag not even in a protective cover, stuck in a crevice at the back of somebody’s desk drawer – heaven only knows how long it had been there, or what it would taste like.  Then I had to find some office with a pot brewing hot water.

 

I finally had the brew, returned to the studio, was then gestured to present the hot tea – probably less hot by now -- to Godfrey on camera.   I named the decades long-associated tea brand he promoted when I handed him the cup.   Wouldn’t you know, seems he’d had a falling out with them, but he rose to the occasion, elaborating on that fact to all, then quickly promoting his new tea brand without chastising me for such a faux pas.    

 

Then there was Canadian Lorne Greene of TV’s  western “Bonanza” fame who was serious and appropriately all business.   Unassumingly quiet shy sweet tiny little Sylvia Sidney who successfully transitioned from the silent film era into early talkies leading lady stardom guested.  She continued to act for decades more to have an over 70 year career.  

 

Ms Sidney had reportedly come to town to visit an old friend who worked for her beginning in her early Hollywood movie days.  Loyalty and even affection runs strong, whatever the hierarchal professional relationship, once trust is established for most of those performers in the entertainment business has been my impression and experience. 

 

Currently popular at the time was the Four Freshmen vocal group, also a favorite of mine I’d seen perform several times prior to working the TV show, once with the then notable  Stan Kenton orchestra.   Meeting Freshmen leader Ross Barbour delighted me though he was more than a little disappointed we didn’t have their latest album.   Upon his learning this I could hear the tension and irritation building in his voice as he spoke to me but checked himself before berating me.   Unlike radio stations that received free promotional records TV stations didn’t, so we didn’t have a library of recordings or any albums.   

Instead The Freshmen were stuck with lip syncing one of their older but most popular tunes, “It’s A Blue World” from one of my personal albums our show’s producer/director had requested I bring to the studio.   Interestingly to me was that Ken Albers, one of the group’s various replacement vocalists from their original foursome was a personal friend of our director -- perhaps the two of them should have addressed the record issue.

 

 (My husband’s vocal group sang arrangements harmonizing in this same style patterned after The Hi Lo’s, forerunners to the Four Freshmen.  I have only two recorded songs of my husband’s group since making records in those days was so expensive and not routine.   Years later the Beach Boys Brian Wilson readily admitted he dissected the Four Freshmen’s music harmonies to create his group’s sound.)

 

Here are the Hi Lo's singing A Nightingale Sang In Berkeley Square.

 

 

The TV show’s guest list continues with current at-the-time and older major stars of the day – but those are just a few personalities who immediately came to my mind, possibly not some of the major guests or individuals others would have vividly recalled.  Guests weren’t all professional entertainers, could be government officials, sports figures, politicians, persons of interest from any walk of life, including occasionally the musically talented trying to break into show business. 

 

We periodically promoted what might be considered public service interview segments for worthwhile groups such as one struggling to provide care for babies with spina bifida, for whom there was little treatment in those days, such babies were often expected to die, a neglected group.   Numerous artists, other interesting people were featured, both legitimate and otherwise, like Alan Abel who wanted to clothe animals because, he said, nude, they were immodest. Years later Abel finally revealed he was an international hoaxer but that’s another tale.   

 

Once the artist entered the live show studio they could at least monitor the on-air conversation and activity so when finally introduced they could enter into the show’s flow with dialogue having some continuity.  Unfortunately, the studio audience could see them off-camera, so most “star” guests had to be kept in the other barren studio and just go on the show “cold”, so to speak.

 

Well-known guests and star artists would be recognized immediately, once the studio audience saw them, and could become a distraction.  They could unintentionally cause a  studio audience massive collective “g-a-a-a-s-p,” or loud “Oh-h-h!” which would go out over the air confusing viewers at home since it would have nothing to do with what was happening on-camera that viewers were seeing.  That interruption then generally required the host to offer a brief explanation which wasn’t always convenient depending on what they were in the midst of doing. Viewers weren’t as tech savvy about TV operations behind the camera to know what was happening then as we’ve all become during the ensuing years.

 

My host friend, Jack Denton, toiled in the entertainment business as so many do, without national fame, but enjoying his work.  He never achieved making an appearance on the Johnny Carson Tonight Show which had been one of his goals.  He had been on the original Dating Game years prior to the subsequent versions before hosting our TV show.   The years after he left our show I didn’t see him in most of his film or TV appearances as listed on the imdb site, many roles quite brief, some non-speaking.  He hadn’t mentioned them or asked that I view them.  

 

Jack’s best known role in several different productions, like “Annie”, was as FDR (click to see photo link).  He especially relished the part because he was a major admirer and fan of former U.S. President Franklin Delano Roosevelt.   I first recall unexpectedly seeing his FDR  image in a limited non-speaking appearance on PBS TV’s 1987 American Playhouse “Eleanor: In Her Own Words” starring Lee Remick’s one-woman show speaking Eleanor Roosevelt’s words.   He recreated his FDR roll when he toured in a road company of the Broadway show “Annie” which had precipitated his becoming so angry with me for not attending which I described in this blog post series Part 2.

 

As most actors do, I’m sure many roles he took were to gain experience and to pay the bills with the hope he would make some connections leading to more work and bigger parts.  Of course, he had only entered into the acting scene when he was older.   He may have had scenes or lines in some shows that ended up on the cutting room floor.   Some movies may have turned out to be quite different from what he thought they would be when he took the role.  Perhaps some vehicles and roles he may have preferred to forget.   I recall thinking that about one film when I heard his voice as I was surfing TV channels and stopped to watch that movie which would have been better left unviewed.  Fortunately, he later had some more appealing vehicles.

 

I really thought this would be the end of my tale, but I’ve recalled an unusual serendipitous incident, somewhat related, which you might find of interest.  What’s one more final week to start the new month before ending this epistle!