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To: Uncle Frank who wrote (2121)10/14/2008 2:21:18 PM
From: LindyBill  Respond to of 17978
 
I agree with Nancy. And Stacy did one hell of a Samba that season. Stacy has been Lance's salvation.



To: Uncle Frank who wrote (2121)10/14/2008 7:56:13 PM
From: LindyBill  Respond to of 17978
 
"Dancing With the Stars" gives ABC the most viewers Monday, but CBS has most young adults
posted by halboedeker on Oct 14, 2008 12:03:23 PM
Discuss This: Comments (1) | TrackBack (0) | Linking Blogs | Add to del.icio.us | Digg it

ABC's "Dancing With the Stars" entertained 17.8 million viewers, the biggest audience for any series Monday night.

The Disney-owned network attracted the most viewers in prime time, but CBS had the most young adults, according to updated ratings released Tuesday afternoon. "Two and a Half Men" was the night's biggest draw among the 18-to-49 age group.

"Dancing" dominated the 8 to 9:30 p.m. time slots. The CBS comedies ran second: "The Big Bang Theory" with 9.3 million, "How I Met Your Mother" with 9.3 million and "Two and a Half Men" with 14.7 million. The Philadelphia Phillies-Los Angeles Dodgers game pulled 7.7 million to Fox. NBC's "Chuck" charmed 6.2 million -- this guy deserves a bigger audience.

At 9:30, "Samantha Who?" returned and Christina Applegate drew 11.5 million viewers. CBS' "Worst Week" ran second with 9.8 million. For the hour, NBC's "Heroes" entertained 8.8 million.

At 10, CBS' "CSI: Miami" was the most attractive spot: 13.2 million stopped to look in. ABC's "Boston Legal" entertained 8 million. The premiere of NBC's "My Own Worst Enemy" attracted 7.3 million fans of Christian Slater.

For the night, ABC averaged 13.5 million. The competition: CBS with 11.6 million, NBC with 7.4 million, Fox with 7.1 million, The CW with 3.4 million and MyNetworkTV with 1.5 million. On The CW, "One Tree Hill" pulled in 3.5 million and upstaged "Gossip Girl" with 3.3 million.

blogs.orlandosentinel.com



To: Uncle Frank who wrote (2121)10/16/2008 7:45:08 PM
From: LindyBill  Respond to of 17978
 
One of the ladies I dance with went to the "Boogie by the Bay" in San Francisco last weekend. 1400 West Coast dancers. She entered the Masters competition and won first place! I never realized she was the good at it, because I don't do West Coast. <?i>

Dancing With The Stars - A Teacher's Perspective
DWTS-Week 4
FRED ASTAIRE DANCE STUDIOS
By Debra Stroiney

During the show this week Len mentioned that the Tango is for the actors, that it is a dance that needs to have the expression and the character portrayed throughout. Interestingly enough, all of the contestants who competed in the Tango are actors! That worked out well for them and for their teacher. It is too bad they do not start with this dance in the first couple of weeks. The footwork to Tango is actually simple and can be learned by using walking steps. The difficulty comes from making the dance sharp and dramatic. Having the professionals teach them a basic routine and teaching them all about the dance and character is the best way to proceed with this dance. Especially for those who have acted before it would be easy to get them in character that is needed for this dance.
All of the contestants did very well with the Tango; all of the routines kept with the correct style of the dance and were still able to put on a show. I do feel a little bad for Cody because the song he had to dance to was one of the worst. It was very hard to hear the Tango beat, but they did the best they could with keeping it on pace. The song they played had a distinct swing beat to it and you had to listen closely to hear the timing for the Tango. Cloris was able to show everyone that she can learn to dance and improve each week as the others do. Lance and Lacey had the perfect Tango character and also had a traditional routine with a little bit of a twist. That is why I like them so much, they are interesting to watch. Susan and Cody also did well with their partners; in fact, I would say they all had their best performances. It could be that they were more comfortable knowing they were going out there to “act” and not just “dance.” I would say it's that they are finally feeling comfortable learning how to dance but when seeing some of the Samba performances I don’t think that is necessarily the case.

The second time I agreed with the judges was when they talked about Warren’s dance. It was entertaining, and I still want to emphasize to the viewers how well he moves around the floor. But, what he did was not a Samba routine; it was a freestyle dance that had maybe two textbook Samba elements. The hip and pulsing action in Samba is one of the hardest to build muscle memory for. Many of the couples were using tricks and entertaining choreography to hide the lack of proper Samba technique. This can work sometimes. In fact, I think it worked better for Maurice than it did Warren. Maurice also put on a performance to make up for the inability to dance the Samba, but his was more convincing.
The contestants who had to perform the Samba did not do as well as those performing the Tango. Even Toni and Brooke, who usually look wonderful out there, had an awkward feel to their dancing that I had not seen before. I am wondering what the professionals were focusing on when they were teaching the Samba to them.

I did not agree with the judges when they kept saying that it is week 4 and they want to see more refined dancing. OK, I understand that most of the contestants have had 10 weeks of dancing behind them; they should be more comfortable with dancing in general. BUT, all of the contestants still only have 3 to 4 days to learn a new dance. And when I say learn a new dance I mean all that goes along with it: the steps, a routine, the timing, the technique, and the character. That is a lot to learn and to also make it look refined. I do agree that throughout the competition the professionals should be teaching the stars about posture, correct alignment, and making lines with your body. These are universal themes that can be taught for every dance with only slight adjustments between Rhythm and Smooth dances. But to learn Samba hip action and how to perform the dance takes a little bit more than a few days, even if they are devoting 7 hours a day to it. If you do not have the muscle memory of the hip action, then more than likely you won’t do it while performing because there are other things you are thinking about.
I am currently getting students ready for a regional competition in the beginning of November. It is 4 weeks away and we have now started on refining the routines and technique. I do not want them refining it the week of competition because they will not remember it. I was trained to not introduce any new material to a student less than two weeks before a competition because they will not remember it. Regardless of the hours put in for the show, they are still students who need repetition to execute certain aspects of the dance. This is where I believe some of the hip action got thrown out the window. Sometimes, a solid and entertaining performance can make up for the time that was not spent on technique.

I know the judges have to pick an overall winner of the competition and, of course, the judges remember what they have seen before and the progression they have made throughout the weeks. I would hope that if I was dancing in a Rhythm championship and then in a Smooth championship, the judges wouldn’t score me in Smooth based on what they saw in Rhythm. I feel the judges on this show sometimes think about past performances and compare it to a dance that is nothing like the one they are performing that week and then again sometimes they don’t. There is no consistency. This is the controversy in ballroom dancing: it is subjective. Interestingly most ballroom dancing competitions have 5 to 6 judges not just 3.

I am very excited that they are putting in a few new dances next week on the show. I am especially interested to see the West Coast Swing. This can be a fun dance once you get the hang of it. When learning the basic elements, it can be a pain to master! I look forward to seeing what twists the professionals put on the choreography. It will also be interesting for those professionals who have a stronger International style background since this dance is considered American style. Most dancers who have come to the US to work as instructors have never seen it before. Don’t forget the Hustle and Jitterbug will also be making an appearance. This could get interesting!



To: Uncle Frank who wrote (2121)10/18/2008 6:35:47 PM
From: LindyBill  Respond to of 17978
 
Emphasizing Entertainment Over Technique on 'Dancing with the Stars'
Friday, October 17, 2008

Dancing with the Stars is throwing a twist next week by introducing four new styles of dance that have never before been seen on the show. These styles are the hustle, jitterbug, salsa and West coast swing. As Len Goodman explained in the Dancing with the Stars results show this week, the judges will be looking more for entertainment value rather than pure technique in these new styles. If this is true, then this leaves the competition wide open.

Some people are blessed with the natural ability to put on a good show, and others have the knack for learning dance steps. Some people, like Monica Seles from last season, have neither. The question is, if technique is going to be de-emphasized slightly, which of the eight remaining celebrity dancers will have an advantage, and which will be in danger of getting eliminated from the competition?

Right off the bat, I think we can say that Brooke Burke and Lance Bass are safe. Of course, nobody is really “safe” on Dancing with the Stars because of the unpredictable nature of the vote. However, I’m willing to bet that they’ll be sticking around for at least another week, if not longer. Brooke has been fabulous, both in terms of her pure abilities, but she also puts on a good show. And Lance and Lacey are becoming fan favorites because they always inject tons of creativity and originality to their routines.

I think that , Toni Braxton and Warren Sapp will likely survive next week’s elimination as well. Each of these three has had moments of brilliance, and they are all fairly strong competitors.

That leaves us with Susan Lucci, Maurice Greene and Cloris Leachman.

I’m still at a loss as to why the judges have been giving such high scores to Susan Lucci. Maybe they are afraid that she will turn into her alter ego and come after them with the rage and fury that only a filthy beast like Erica Kane can muster. To me, however, her routines have all been safe, boring and flat. She looks like she weighs about 72 pounds and that the slightest misstep will shatter her frail body to a million pieces.

Then, there is the problem of Maurice Greene. I’m such a big fan of his, from an athletic perspective, that I’ve just been disappointed in him. He started to make improvements in week 3 with a fun, energetic jive, but then regressed this week with a sloppy samba.

And finally, Cloris. Oh, what would we do without Cloris Leachman? Well, obviously, technique isn’t her strong suit, but she’s got fun and wacky pizzazz to spare, so she might benefit most next week from the shift in emphasis that the judges are making. Not to perpetuate any more conspiracy theories, but maybe they are making the shift in an effort to legitimately award Cloris with higher scores. Or maybe her bribe is working.
*****************************************************
Brooke is 37! Unbelievable. Her "fiance" is a live in, and the last two kids are his.

Brooke Burke's fiance almost joined 'Dancing with the Stars' too
By John Bracchitta, 10/17/2008

After watching the show's professional dancers develop some family-rivalry subplots over the last few seasons, Dancing with the Stars' producers had apparently been hoping to do something similar with this fall's seventh-season celebrity cast.

"The show actually asked me to come on this season and compete against her," Charvet told People in a Wednesday report.

However despite the show's interest, Charvet said that he was unable to accept the offer because the competition would have conflicted with a movie he was shooting.

Chavret also thought that he may have not been able to suceed in the show after watching Burke go through her vigorous weekly practices with Derek Hough.

"I think it would have been fun," he said to People. "But when I see what [Brooke] has to go through every day, and how nerve-racking it is, I don't know if I could do it."

Burke said she would have welcomed the addition of her fiance -- whom she met on a dance floor while at a charity event in Mexico -- to the reality dance competition.

"I'd love to see him pour himself into it on the eight-hour-day commitment," she told People. "David’s got rhythm and he loves music, and I think he would do really well."

However, she added that because of the success she has had in the competition with Hough -- the two have held or tied for the highest judges' score for all five of the show's performance rounds so far this season -- Chavret's inability to join the show may have been a smart move, for him.

"At first I thought that it would be really cool, a great twist for the show," Burke joked to People. "But now, I actually think that it's a good thing that he didn't [join the show], because he wouldn't have won this season."



To: Uncle Frank who wrote (2121)10/20/2008 8:49:04 AM
From: LindyBill  Respond to of 17978
 
American Idol Says Simon Cowell Cruelty Led Her to Depression, Drugs
US MAGAZINE
Thursday October 16, 2008

American Idol alum Nikki McKibbin, a recovering alcoholic and drug addict, has revealed Simon Cowell led her on a downward spiral.

"I came out of Idol with a lack of self-confidence," McKibbin tells the new issue of Us Weekly. "I think I had my first solo in school when I was 5, and I got more as I got older: That's the biggest compliment in choir. I had never been told I wasn't good enough. Having to hear it for so many weeks from Simon Cowell killed me inside. I couldn't get the s--t he had said to me out of my head."

She continued: "It drove me deeper into my depression. I wouldn't say that this was Simon's fault. It just added to the addict that I already was."

Cowell compared one of her performances to Adam Sandler's tone deaf character in The Wedding Singer.

"We were heavily chaperoned, but I would buy vodka and sneak it into the refrigerator on the bottom floor," McKibbin tells Us. "If I wasn't too exhausted, I'd have one or two drinks."

The season one contestant finished third behind Justin Guarini and Kelly Clarkson.

usmagazine.com



To: Uncle Frank who wrote (2121)10/20/2008 6:24:46 PM
From: LindyBill  Respond to of 17978
 
Dancing Stars: Favorites?
Matt Robinson
As Dancing with the Stars heats up, which tandems are best positions to take home the title?

Brooke and Derek are the ones to beatNot so fast, Brooke Burke and Derek Hough. While this tandem is the favorite on season seven of Dancing with the Stars, a quartet of other couples will have something to say about the champion.

Can Brooke Burke and Derek Hough go wire-to-wire this season on Dancing with the Stars?

This tandem has led the way every week of the competition, but past seasons have taught fans to see the series as a marathon, not a sprint.

With that in mind, here are the five couples, ranked in order, that we think have the best chance of taking home season seven's trophy:

1. Brooke Burke and Derek Hough: They haven't had an off-week yet. Even backstage fighting has resulted in on-camera chemistry.

2. Warren Sapp and Kym Johnson: The only thing bigger than Sapp? The ever-growing fan base for this former NFL All-Pro.

3. Cody Linley and Julianne Hough: Slowly pacing themselves, these young, attractive stars will benefit a legion of loyal fans.

4. Lance Bass and Lacey Schwimmer: Would be ranked higher, purely based on talent. But Bass loses points for possessing an extensive background in dancing.

5. Maurice Greene and Cheryl Burke: She's won the competition twice and his personality is coming out more every week.

High-Kicking Her Way to a Renaissance at 82
By EDWARD WYATT
Published: October 19, 2008

LOS ANGELES — Roughly an hour after performing a tango that would earn her another week on “Dancing With the Stars” last Monday, Cloris Leachman took a moment to look ahead to where her career, still-blossoming at 82, might go once her time on the ABC hit dance competition runs its course.

Cloris Leachman rehearses with her “Dancing With the Stars” partner, Corky Ballas. The pair has survived four eliminations.

“I could get pregnant,” she said in an interview in her trailer, where, completely coincidentally, she insisted on changing out of her ballroom gown in front of a reporter. “I’ve got a bit of time before my next project. Maybe I’ll be on ‘American Idol.’ ”

Whatever her next undertaking, it is clear that Ms. Leachman is not on the way out. Soon after finishing on “Dancing,” she is scheduled to belatedly join Quentin Tarantino on the set of his new film, “Inglorious Bastards,” which stars Brad Pitt and is shooting in Berlin. She has postponed a national tour of her new one-woman show, “Cloris,” to accommodate the dancing gig. And on New Year’s Day she will serve as grand marshal of the Rose Parade, an event that thrills her grandchildren, she says, because it “is actually older than I am.”

With all of those opportunities, it is perhaps perplexing that Ms. Leachman would commit to a reality-television program whose definition of “star” can be loose and often includes performers whose careers badly need a boost. It rarely extends to someone with an Oscar, a bookcase full of Emmys and defining roles in some of the most classic entertainments — “The Last Picture Show,” “The Mary Tyler Moore Show” and “Young Frankenstein,” to name three — of the last 50 years.

Despite those credentials, Ms. Leachman had to beg to be on “Dancing With the Stars.”

“My son became my manager, and he said to me, ‘Mom, if you could do anything you wanted to do, what would it be?’ ” Ms. Leachman recalled. “And out of my mouth immediately came ‘Dancing With the Stars.’ I hadn’t been watching it all these years; I passed it by once and watched part of it and I just loved it.”

Nevertheless, she said, she was turned down by the producers — not once, but twice. “This was the third time,” she said. “They turned me down twice because I was too old.” ABC confirmed that it passed over Ms. Leachman but not, the network said, because of her age.

Ms. Leachman is perhaps having the last laugh, having survived the first four weeks of eliminations to become the surprise of the season. She might be the first 82-year-old to hike her foot above her head on network television — even if it took a little help from her professional ballroom partner, Corky Ballas.

That move did not come easily. “I think my back’s sore down low,” she said as she changed clothes, having first wrested a guarantee from a reporter — willfully given — to keep his eyes closed.

“I hurt my rib,” she continued. “I have pads in my shoes for my bunion. I have a shot in my knee for my bad knee. I have high blood pressure. Very bad osteoporosis. And asthma. But I’m talking pills for everything so everything is fine.”

Still, she is the “Dancing” star who, more than any of her competitors on the show, is hounded to sign autographs and pose for pictures with the largely middle-age, mostly female V.I.P.’s who are allowed backstage.

Younger fans of “Dancing” knew less about Ms. Leachman before the current season — beginning with her own dancing partner. When Mr. Ballas met Ms. Leachman, he asked if she had been on the television series “Bewitched.”

(No, she said, that was her former mother-in-law, Mabel Albertson, who played Darrin Stevens’s mother, Phyllis Stevens. Ms. Leachman graciously did not bother to relate that she was the first person on screen in the pilot episode of “Mary Tyler Moore.” Her portrayal of Phyllis Lindstrom won her two of her numerous Emmys and was later expanded into a spinoff, “Phyllis.”)

Ms. Leachman made a more recent impression on the younger generation when she turned in the funniest performance of all on Comedy Central’s roast of Bob Saget. Mr. Saget, who helped introduce the world to the Olsen twins on “Full House,” violated the sitcom and left it for dead in a ditch, Ms. Leachman proclaimed.

Mr. Saget, who as a teenager in the San Fernando Valley attended tapings of both “Mary Tyler Moore” and “Phyllis,” said that although Ms. Leachman was not a stand-up comic, “she knew to do what all good comics know, which is to just open the throttle all the way and don’t hold back from the moment you take the stage.”

Ms. Leachman professes to not know why she has such support among fans of “Dancing With the Stars,” although clearly her longevity in show business has benefited her over someone like, say, Kim Kardashian, the reality-television and sex-tape star who was voted off three weeks ago.

Throughout her career, she explained, “if I were to do some outlandish role, I always made sure I’d be on Johnny Carson to show that I wasn’t that person that I played. I’d be myself. And so people got to know me, I think, and I think they know that I’m honest and truthful and real.

“I am from Des Moines, Iowa, not even the city but out in the country,” she added. “I don’t have a lot of trappings, I think, in my personality. I’m just a simple person, with a silly bone.”

In a town where most actresses would no sooner admit their age than turn down a chance to walk the red carpet, Ms. Leachman posts her date of birth — April 30, 1926 — on her Web site, cloris.com.

Certainly she is an anomaly at a time when, given the ravages of high-definition television, many female stars will not go before a camera without being injected or lifted or receiving some implant.

Still, the ravages of a late-blooming ballroom-dance career are beginning to show. She looks tired, perhaps a sign that the two and a half to three hours a day of dance rehearsal — half the time some competitors put in — is wearing on her. In addition, there are the endless publicity demands, including an hour or more giving interviews, like the current one, after both the performance and results episodes of “Dancing With the Stars” each week.

Even after all these years in show business, Ms. Leachman said, there are still some things people do not know about her. She is not inclined to reveal them just yet.

“They’re in my book,” she promised, which is to be published by Kensington Books. “It’s coming out in the spring. You’ll find out a few things about me.”

Strictly judge Len Goodman 'to quit' show but Bruce Forsyth says he'll stay on
By Paul Revoir

Strictly Come Dancing's Len Goodman has hinted that he could quit the BBC programme - so he can carry on presenting the US version of the show.

The popular head judge is currently racking up thousands of air miles flying between London and Los Angeles each week to work on both shows.

But the 64-year-old has admitted jet lag is becoming a problem and he would drop the BBC version because he is better-paid on the American show.

He gets about £250,000 for taking part in the US series on ABC as compared with £90,000 for the UK show on BBC1.

Mr Goodman and fellow judge Bruno Tonioli fly to LA on Sunday morning to film Dancing with the Stars and return to London on Thursday each week.

They work two days on Strictly Come Dancing before flying off to LA.

'I wasn't going to do it this year - the flying backwards and forwards - but I got talked into it again,' said Goodman.

Lance Bass steps up on 'Dancing With the Stars'
By PATRICK HUGUENIN

Saturday, October 18th 2008, 4:00 AM

"I've had several friends do the show," he says, "and they're like, 'Listen, try to get in shape before you do it because it's going to hurt.' I got a trainer and got in pretty much the best shape of my life."

The one-time 'N Sync boy-bander has worn many hats since the group split in 2002.

He trained as an astronaut, produced and starred in movies and hit the cover of People magazine, raising his eyebrows over a headline that blared, "I'm gay." A memoir followed.

He says "Dancing With the Stars" is his chance to focus, recharge and figure out how he's going to make it back to New York - a place he refers to as "definitely my favorite city ever" since his six months as Corny Collins in "Hairspray" on Broadway.

"This show is the first time in a while that I've had no personal life," he says. And after all the post-coming-out scrutiny and dating several tabloid-ready hunks, the now-single Bass says it's a welcome break.
PHOTOS: "DANCING WITH THE STARS"

"I've had some amazing relationships and now is time to really focus on me and figure out what my next step's going to be."

In the short term, that step is going to be something along the lines of a pas de deux. Bass and "Dancing" partner Lacey Schwimmer (a former finalist on "So You Think You Can Dance") pulled down decent scores - until last week, when their moves rocketed them into favor with the judges.

"For some reason," he says, "we pleased all three judges! We have to study what we did and do it again."

Bass seems well on his way to living up to his preshow claim that he wants to take back the seventh season of "Dancing" for the entertainers in the contest (after recent seasons that were dominated by athletes such as Kristi Yamaguchi).
RELATED: PARTNERING AIN'T EASY FOR "DANCING WITH THE STARS"

"Those athletes," he says, "they're brutes. They're so competitive and they're so talented at anything they do. ... But really, the show's such a popularity contest. As technically perfect as you can get, America likes to vote on who they want to see because they enjoy seeing them."

Still, he gives credit to retired NFL player Warren Sapp: "For a guy who's 300 pounds, to be able to move his feet like that is incredible."

And after it's all over and he's free to travel and take on new projects, he says he'll be back in the dating pool. "I'm a hopeless romantic for sure," he says. "Hopefully, I'll meet the man of my dreams."



To: Uncle Frank who wrote (2121)10/21/2008 4:55:23 PM
From: LindyBill  Respond to of 17978
 
Cloris has built a following. I won't be surprised if Susan or Toni go home tonight.

'Dancing With the Stars': The West Coast swing, the hustle, the salsa and the jitterbug
10:40 AM PT, Oct 21 2008

Cody When you have a show that attracts 20 million or more viewers, like “Dancing With the Stars” does, you’re probably presented with a conundrum: How do you keep the show fresh (so that the 20 million viewers won’t get bored) while not messing with whatever it is that makes all those people watch so devotedly in the first place? I suppose adding Cloris Leachman to the cast is one tactic. Another is tinkering with the dancing, which is what we saw Monday night, when each couple was assigned one of four completely new dance styles: the West Coast swing, the hustle, the salsa or the jitterbug. Because eight couples remained in contention, this meant that each dance was performed by two couples, back to back for ease of comparison.

This proved to be a tall order for the pros –- many of whom had never taught and had seldom even done the dances they were assigned. It also proved to be a tall order for me as a viewer, since it was hard to know exactly what to look for. But I did like having four new dances and some crazy costumes to observe. Also, Cloris said “skanky ho” repeatedly, with co-host Samantha Harris’ approval. And Misty May-Treanor was in the audience, wistfully pondering what might have been.

Let’s just go in order, shall we?

First up was the West Coast swing, and the first contenders were last week’s darlings, Lance Bass and LaceySchwimmer. It turns out that Lacey is a former West Coast swing champion, descended from a king of swing, Buddy Schwimmer. In his heyday, Buddy looked the part; now he looks like someone who could have had a small role on “The Sopranos” — a big guy with rings on all the wrong fingers. Anyway, you’d think Lacey’s being a ringer on this dance would be an advantage, right? Wrong. The judges didn’t like their dance because it was too much Lacey and not enough Lance — it’s Lacey’s job, the judges admonished her, to make Lance look good. In the post-dance interview with Samantha, they tried to brush off the criticism but looked shocked throughout. Score: a rather paltry 21 out of 30.

The next West Coast swingers were Toni Braxton and Alec, who started the season strong but who haven’t really lived up to their potential. In rehearsal, Toni acknowledged this, and she worked very hard on keeping her shoulders up, which was something judge Carrie Ann mentioned last week. In the performance, Toni wore a short wig and what seemed to be a sequined aerobics outfit complete with leg warmers. Not really knowing what to look for, I found that the only observation I could make was that Toni was perhaps focusing so much on her shoulders that the dance never really opened up. Carrie Ann described it thusly: “I thought you were overdancing” and that the West Coast swing, while difficult, should look easy. Len said they could be fantastic, but they need to regroup and pull all of the pieces together for the next time. Score: 22/30.

Susan Lucci probably won the costume battle for the night — she looked great in a gold disco/flapper/go-go boots ensemble, her hair feathered and highlighted. And she brought with her the advantage of having been to Studio 54, which she described as “magical.” Her earnest voice made it sound like the Ice Capades. In rehearsals, Susan continued to have problems with the ankle injury she experienced a couple of weeks ago, and after getting an MRI, she learned that she actually had a fracture in her foot. The question, the doctor told her, was could she dance through the pain? The short answer to that was yes — Susan and Tony’s hustle betrayed nothing about the injury. But as with Susan’s past dances, you could just see the concentration on her face, and, as Len put it, Tony treated her “like a China doll,” which means they never really broke out in the dance. Bruno said something about this being an Uptown Girl hustle but not a Times Square hustle, the implication being that you want the latter. Score: 22/30.

Warren and Kym were a close second in the costume battle, wearing full disco attire for their hustle. They were bummed by their slip in the rankings last week, and Warren asked Kym to push him hard despite the fact that he was starting to drag. The choreography Kym came up with was very fun — I think every single classic disco move was in this dance, from the pointing fingers to the rolling hands. It felt like a montage of the best moments of “Saturday Night Fever.” Carrie Ann complimented them for tapping into the “nostalgia of disco.” Score: 25/30.

Cloris and Corky were assigned the salsa, which, Corky said, required the same sort of intense character acting as the tango. As another component of their preparation, they very savvily went out to the Farmers Market in Los Angeles to thank her fans. Cloris has toned down her act a bit, and I think it’s smart — she said that dancing has given her a new lease on life, and she wants to stay in another week. The faster dances, though, are just harder for her. In their performance, the parts in which Cloris was dancing alone looked better than those with Corky, I thought, since Corky is just so much more spry than Cloris. Since, you know, he’s like 50 and she’s 82. But it was a solid dance. Bruno said with approval that it was “actually a salsa,” albeit one that looked as if Cloris had “downed a pitcher of margaritas” right before doing it. Carrie Ann professed her love for Cloris and said that “you make us forget that this is a dance competition.” So true. In the post-dance interview, Samantha asked Cloris what character Corky instructed her to have in mind for the salsa while rehearsing — Cloris replied that it was “a ‘something’ ho,” then remembered that the word she wanted was “skanky.” Score: 21/30.

Maurice Greene and Cheryl seem to me to be an emotionally fragile pair. After last week’s poor scores, their rehearsals this week seemed alternately somber and tense. This season, Cheryl herself seems somewhat somber to me. The salsa was new to her, and she felt that Maurice wasn’t really trying. This led to a few confrontations between them, and I think that this tension was so fresh in my mind when I saw the performance that I didn’t really see what the judges saw. Also, of course, I don’t really know what to look for in the salsa. The judges thought the dance was great, and they enthusiastically — perhaps overenthusiastically — gave them three nines, for a total of 27 out of 30.

The last dance was the jitterbug, which was the easiest to compare to the usual dances for me. Brooke Burke and Derek Hough went first, and Derek was forced to use information from the Internet to figure out how to do the jitterbug. He seemed to be using printouts of just words, not diagrams, which I found impressive. His and Brooke’s outfits appeared to be out of an adult movie with a 1950s setting — Brooke styled like a naughty cheerleader, Derek styled with an exaggerated greaser look. Their jitterbug was extremely high-energy and fun, and it involved, by my count, three flips (two back, one forward). The judges had kind of scored themselves into a corner by giving Maurice three nines, so I knew some 10s were coming for this one. Sure enough, Brooke and Derek got a 29/30, the highest score of the season so far.

The other Hough sibling, Julianne, and her partner, Cody Linley, were the other jitterbuggers. The dance was also new to Julianne, so she and Cody spied on Derek and Brooke and realized that they needed to add some flashy moves to their own choreography. Their dance was performed in tamer 1950s outfits — Julianne as an aproned housewife, Cody as a dorky engineer (or similar) husband. Their dance was also very high-energy and filled with flips, jumps, lifts, and other bells and whistles. Moreover, as Bruno pointed out, it had a nice slapstick element to it. Cody and Julianne got their first 10 of the season, for a total of 28/30 and second place this week.

That means that Lance and Lacey and Cloris and Corky are tied for last place. Whose fans will come through? And should Susan/Tony or Toni/Alec be worried too? I don’t have a good read on their fan followings. If I had to guess now, I would say the finalists this season will be Brooke, Cody and Warren. What do you think?

In tonight’s filler, we’ll see the Brian Setzer Orchestra and, if the promos are to be believed, some insanely elaborate dance number. Next week, co-host Tom Bergeron told us, we’ll see all of the stars perform a group hip-hop routine (that alone may be reason to keep Cloris around), and there will be a “famous guest judge” on the panel to give Len a break.



To: Uncle Frank who wrote (2121)10/22/2008 1:15:45 AM
From: LindyBill  Respond to of 17978
 
THIS OLE HOUSE
Monday, 20 October 2008
Song of the Week #104
by Stuart Hamblen

As Campaign 2008 enters its final stretch, here's a salute to a Presidential candidate: Stuart Hamblen. He was born one hundred years ago today, October 20th 1908, in Kelleyville, Texas, and, if you're figuring, "I don't remember him getting the nomination", well, read on. This Song of the Week is adapted from Mark Steyn's Passing Parade:

This Ole House once knew my children
This Ole House once knew my wife
This Ole House was home and comfort
As we fought the storms of life...

Movie buffs will appreciate that moment in low-budget westerns when the leader of the bad guys, the brains of the outfit with the fancy suit and big cigars, swings open the saloon doors and says, "Saddle up, boys, we're ridin' out." In dozens of Republic and Monogram third features of the Thirties and Forties, the camera would then cut to the gang's heavy, chewing a stogie, downing a shot of red-eye, and playing poker in a menacing manner - Stuart Hamblen.

Most of his confrères in the gang were phonies - failed stage actors, effete Englishmen drifting through Hollywood - but Hamblen was the real thing: as a child in Texas, he'd learned to ride and rope and quickly graduated to the local rodeo circuit. When he moved to Los Angeles to sing on KFI Radio's "Covered Wagon Jubilee", it was inevitable that he'd mosey into cowboy pictures.

In the movies, his evil deeds were routinely foiled by Gene Autry or Roy Rogers and Trigger. Off-screen, it was the Los Angeles Police Department who regularly slung him into jail for barroom brawls or shooting out streetlights. "My Daddy was a Methodist minister," he said, "and I guess I was the original juvenile delinquent." To while away his prison stretches, he wrote songs like "Ridin' Ole Paint" (which he sang in the movie The Savage Horde) and "I Won't Go Huntin' With Ya, Jake, But I'll Go Chasin' Women".

In 1949, however, Hamblen was persuaded to attend a Billy Graham prayer meeting. Overnight, he abandoned the good ol' boy songs in favour of evangelical numbers like "When The Lord Picks Up The Phone". Even more impressively for one of the hardest drinkers in Hollywood, he also gave up booze, and in the 1952 Presidential election ran against Eisenhower and Adlai Stevenson on the Prohibition Party ticket, pledging to restore the outright ban on alcohol: he lost by 26 million votes. Marvelling at his old drinking buddy's newfound moral rectitude, John Wayne wanted to know how Stu was managing to stay off the bottle. "Well," said Hamblen, "it's no secret what God can do." "That sounds like a song," drawled the Duke. So Hamblen made it one – "It Is No Secret (What God Can Do)" – and he had a hit with it, and so did Red Foley and Jo Stafford, and later Elvis.

Hamblen and his wife Susie hosted "The Cowboy Church Of The Air", one of the most popular programmes on the West Coast, broadcast on KLAC every Sunday morning from the family home, a California estate once owned by another hellraiser, Errol Flynn. And, although few of his religious numbers crossed over into the wider market, one of his songs, "This Ole House", did have the distinction of reaching Number One in Britain on two separate occasions, with Rosemary Clooney in 1954 and Shakin' Stevens in 1981.

"I always wanted to write music and for me it could be anywhere," he said. "This time, I was wandering way up in the mountains and came across this dilapidated cabin." He was hunting in the high Sierras and had noticed a mangy, starving old hound dog hanging around an otherwise abandoned cabin. "Inside, I found an old prospector lying dead. I saw curtains, so that meant a woman had been there. I saw kids' things lyin' around. And they were all gone now. The old man was alone." Most of us would just get out, some perhaps would go to the cops, but Hamblen sat down and, with the corpse lying next to him for inspiration, began to rough out a song. "It took about 30 minutes," he said. "I put it down on a brown paper bag the old fellow had left lying there:

Ain't a-gonna need this house no longer
Ain't a-gonna need this house no more
Ain't got time to fix the shingles
Ain't got time to fix the floor
Ain't got time to oil the hinges
Or to mend no window pane
Ain't-a-gonna need this house no longer
I'm a-gettin' ready to meet the saints.

Riding down the canyon, with the pooch on the pommel of his saddle, Hamblen firmed up the central idea of the lyric: There are two meanings to "this ole house" – first, the physical shelter, the wood frame and floor boards; second, the old prospector's body, the structure that houses his soul. Both houses end up as dust scattered to the winds. But the soul inside the "house" of the body is gathered up to meet the saints in the house of the Lord. Hamblen wasn't the first to put it like that. The apostle Paul, in his second epistle to the Corinthians, says:

For we know that, if our earthly house of this tabernacle were dissolved, we have a building of God, an house not made with hands, eternal in the heavens.
But Stuart Hamblen was the first to get a hit song out of the idea:

My ole hound dog lies a-sleepin'
He don't know I'm gonna leave
Else he'd wake up by the fireplace
An' jus' sit an' howl an' grieve…

If Rosemary Clooney was aware of this deeper meditation, she didn't let it get in her way. Rosie's hit record treats Hamblen's reflections on the transience of corporeal reality as a jolly novelty number, a quintessential bouncy pop song from the Mitch Miller era. But Hamlen was grateful enough to send her a bassinet with 125 yards of pink tulle for her baby: even on the Hit Parade, in the midst of death there was new life. Two decades after he himself met the saints and a century after his birth, "This Ole House" remains the versatile Stuart Hamblen's most enduring legacy - and the only Number One hit written in the presence of a dead body.

steynonline.com



To: Uncle Frank who wrote (2121)10/22/2008 3:22:22 AM
From: LindyBill  Read Replies (1) | Respond to of 17978
 
I won't be surprised if Susan or Toni go home tonight.

And Toni went. With Susan going next week if Cloris gets sevens.

Interesting "Macy's" tonight. The opening bit was a re-stage of the Nicholas Brothers number I posted last week. They were good, but it shows you just how brillant the Nicholas's were.

Compare Macy's "Stars" - youtube.com

with

The Nicholas Brothers - youtube.com