Hey pallies, likes it's 'nother great date in all of Dino-history. Likes our pallies at Twingly Advanced Blog Search just directed to us to one of the most perfectly productive Dino-researchin' blog pads, "The Olde Disc Jockey's Almanac, where our pallie Mr. Bob Dearborn holds forth.
Likes today Mr. Dearborn has informed his remarkable readership that our most most beloved Dino recorded 'nother of his coolest of cool classic croons, "I Will" at United Recording Studios in Hollywood. We gotta 'fess up that we find it incredibly intriguin' that our great man recorded this swank song on the eve of his debut of the peacock channel with "The Dean Martin Variety Show," which we will be completely celebratin' on the morrow.
Our Dino had said "I Will" to the pallies at NBC months earlier and as all us Dino-holics know it propelled our Dino into millions of households once a week for the nine followin' years. Likes, as a special treat, we found a vibrant vid of our Dino and Miss Tanya Tucker duetin' on "I Will" for an edition of the 1980 TV Show tagged "The Big Show," and we have shared it below.
Hats off to our pallie of pallies Mr. Bob Dearborn for puttin' us on to 'nother deeply delightful day in Dino-history. To checks this out in it's original source, likes simply clicks on the tag of this particular Dino-devotion.
We Remain,
Yours in Dino,
Dino Martin Peters
Dean Martin duet with Tanya Tucker "I Will" (The Big Show) 1980 [Remastered]
September 15, 1965…At United Recording Studios in Hollywood, Dean Martin recorded "I Will."
Hey pallies, likes sad sad news has come our way that Mr. Frank Vincent, of Goodfellas and Sopranos fame, has departed our planet at age 78. The new of Mr. Vincent's death has been all over the web with quite a number of tributes to this awesome actor, and likes every one that we viewed spoke of Vincent's idolization of our most most beloved Dino.
Likes below is swankly scribed prose by Mr. Kevin Burwick of the new-to-ilovedinomartin entertainment news blog tagged "MOVIEWEB." We chose to share this particular prose 'cause Mr. Burwick speaks of Mr. Vincent's abundant adulation of our Dino with these wisest of wise words which we have chosen as the tag of this Dino-gram, "Vincent's idol was Dean Martin because of his flair for style as well as his naughtiness that he tried to emulate." We are always totally terrifically thrilled to hear of yet 'nother extraordinary entertainer who is totally totally sold out to our Dino as Mr. Frank Vincent was.
We express our sadness to Mr. Vincent's family and friends, and we thanks Mr. Burwick and all the pallies at "MOVIEWEB" for honorin' Vincent and lettin' the world know of his awesome affection for our one and only Dino. To checks out the post in it's original format and to read it in total, simply clicks on the tag of this Dino-message.
We remain,
Yours in Dino,
Dino Martin Peters
Frank Vincent, Goodfellas and Sopranos Star, Passes Away at 78
KEVIN BURWICK
Sad news to report. Frank Vincent, one of the most familiar faces from The Sopranos, Goodfellas, and Casino has died at the age of 78. TMZ reports that the actor died from heart surgery complications. Vincent reportedly suffered a heart attack last week and underwent open-heart surgery on Wednesday and died during the surgery in a New Jersey hospital. John Gallagher, who directed Vincent in Street Hunter and The Deli also posted the news to social media.
.....In 2006, Frank Vincent wrote his first book entitled, A Guy's Guide to Being a Man's Man, which received positive reviews. Vincent's idol was Dean Martin because of his flair for style as well as his naughtiness that he tried to emulate.
Hey pallies, likes with the passin' of Mr. Jerry Lewis, the world wide web continues to exponentially explode with powerful post after post with remarkable reminisces of our most beloved Dino and his most beloved partner in comedy, Mr. Jerry Lewis. Today we takes all youse Dino-holics to the online presence of "The Roanoke Times" of Roanoke, Va. In his post tagged "Cornershot: Roanoke County man recalls screen time with Jerry Lewis," newpaper man Mr. Ralph Berrier, Jr. shared the sweet story of Mr. Darrell Branstetter and his close encounter with our Dino and Mr. Lewis.
Likes it was late in the year of our Dino 1951 that our Dino and Mr. Lewis were filmin' some scenes for their big screen epic "Jumping Jacks" at Amerian Army Base in Georgia. As it would have it, Mr. Branstetter, as you will read below, was stationed at the base at the time and even was an extra in one of the scenes. Mr. Branstetter shares his intriguin' insights of bein' in the powerful presence of our Dino and Mr. Lewis, and what a treat it is, 'cause we can never ever get 'nough retellin's of in-the-flesh encounters with our King of Cool!
We thanks Mr. Darrell Branstetter for sharin' his marvelous memories of bein' 'round Martin and Lewis and for scriber Mr. Ralph Merrier Jr. for puttin' pen to paper for all us Dino-philes to enjoys the Dino-pleasure of readin'. To checks this out in it's original source, likes simply clicks on the tag of this here Dino-gram.
We remain,
Yours in Dino,
Dino Martin Peters
Cornershot: Roanoke County man recalls screen time with Jerry Lewis
Ralph Berrier Jr.
In late 1951, Darrell Branstetter was serving as an instructor at Fort Benning when he was given a new assignment: appear in a movie with Jerry Lewis and Dean Martin.
Branstetter, who’s 85 and lives in Roanoke County, talked about his brief film career earlier this week after Lewis died Sunday at age 91. Martin and Lewis filmed some scenes for their 1952 movie “Jumping Jacks” on the U.S. Army base in Georgia, where Branstetter was stationed with the 11th Airborne Division.
The movie was a typical Martin and Lewis over-the-top farce in which Lewis plays a nightclub entertainer who becomes an incompetent paratrooper so he can perform on army bases. Branstetter was around for most of the filming on base, and he appears in one scene in which Lewis ineptly tries to pack his parachute while all the paratroopers around him, including Branstetter, are distracted by the goofiness.
Even when the cameras weren’t rolling, Lewis kept up the silliness, Branstetter remembered. When Lewis was introduced to a general on the base, the actor fell to his hands and knees and started acting like a monkey.
Another time, Branstetter said, Lewis taunted Martin between takes by playfully punching his co-star, until Martin, a former bareknuckled boxer, got irritated and decked the comedian.
Coincidentally, Bob Cooper, one of Branstetter’s friends and a Roanoke County neighbor, was also at Fort Benning and got some screen time. Too bad it wasn’t a better movie, Branstetter said.
“It’s one of the worst movies I have ever seen,” he said. “Really terrible.”
Hey pallies, likes we are perfectly pleased to be back for a third huge helpin' of incredible international delightful devotion to our most beloved Dino and his most beloved partner Mr. Jerry Lewis. Likes we are powerfully psyched to find pallies from all 'round the Dino-universe coolly chimin' in on remarkable reflections on our Dino and Mr. Lewis as we reverently remember Mr. Lewis on his passin' from our presence.
Today we takes all youse Dino-holics to the french blog tagged "my cinema to me (mon cinéma à moi) and their post simply tagged, "Jerry Lewis and Dean Martin." A marvelous mix of pix and prose, this wise work includes 12 images mostly taken from a number of our Dino and Mr. Lewis' big screen capers, 'long with their relevent reflections from their decade long relationship as pallies and partners in comedy.
The prose is divided into several swank sections: "THE PLAYBOY AND THE PUPPET," "THE MEETING WITH TAUROG AND TASHLIN," "GAGS AND PROBLEMS," and "THE DIVORCE." We are continually awed and refreshed by pallie after pallie sharin' their take on Martin and Lewis, what made them great together and what brought 'em to partin' ways. No two scribers has exactly the same notions and we loves loves loves readin' each and every one of 'em.
We thanks the unknown to us french pallie who calls "my cinema to me" home and puttin' their readership on to our one and only Dino and his one and only partner, Mr. Jerry Lewis. Likes, to checks this out in it's original source, simply clicks on the tag of this here Dino-gram. Long live our Dino and may deep devotion to our Dino keeps growin' all over the Dino-globe!
We remain,
Yours in Dino,
Dino Martin Peters Jerry Lewis and Dean Martin About every ten years, America had a new comic tandem. Abbott and Costello, the stars of Universal, succeeded, from 1946 to 1956, Jerry Lewis and Dean Martin, who reported fabulous sums to the Paramount. On radio, television, nightclubs and cinema, their dynamism and antics led to avalanches of laughter, and, throughout the world, were the No. 1 entertainment on Saturday night. The sixteen films they made together before finally separating in 1956 brought them international recognition.
PARDNERS (The Wild West Trouillard) by Norman Taurog (1956)
THE PLAYBOY AND THE PUPPET
Born in Steubeville, Ohio, in 1917, Dino Crocetti, a second generation Italian-American, was a contraband whiskey, barber, boxer and imitator of Bing Crosby and Tony Martin. Born in 1926 in Newark, New Jersey, in a family of actors, Joseph Levitch followed his parents, Rhea and Danny "Lewis", in the tours they performed for the Borscht circuit; Thus he sang on stage at the age of five. A film opener, then mime, he developed a lip-synh number(pantomime synchronized on a famous air) with which he had a great success. In 1946, following a misunderstanding, Jerry Lewis and Dean Martin met together on the Atlantic 500 Club 500 stage. The crooner's singing-turn, "embellished" by the jerky faces and grimaces of the awful Jerry (he was squirting Seltz water, dropping plates, smiling with all his big teeth), experienced an immediate triumph so that all American nightclubs and television stations competed for the new tandem, and a Paramount producer, Hal Wallis, hastened to offer him a five-year contract at $ 10,000 a week.
ARTISTS AND MODELS by Frank Tashlin (1955)
After starting in My Friend Irma ( Ma bonne amie Irma, 1949), Martin and Lewis followed a series of parodies of the great cinematographic genres (war films, maritime or sports adventures, westerns ...), as all comedians had done before them, from Laurel and Hardy to Marx Brothers, and in which Jerry Lewis occasionally incorporated some personal finds. Having composed the character of the calamitous aborton, half-chouchou to his mother, half-school runner, Lewis was alternately jostled and consoled by a cynical and phlegmatic Dean Martin, who seduced the girls and hummed romances Tonda Wonda "," Hoy "," Inamorato "," Simpatico ", or" That's Amore ", while his boyfriend slept in refrigerators or flirted with the ugliest girl in the lot.
THE STOOGE (The Cabotin and his comrade) by Norman Taurog (1952)
THE MEETING WITH TAUROG AND TASHLIN
After this series of films, designed according to recipes by efficient but impersonal professionals such as Hal Walker and George Marshall, the tandem, whose success continued to grow, met two excellent directors, Norman Taurog and Frank Tashlin, who, Tashlin, who had worked at Warner with the greatest masters of the cartoon gag: Tex Avery, Chuck Jones and Bob Clampett. Tashlin, holding unbridled parody and big farce, gave an apocalyptic image of provincial America delivered to a frantic consumerism, drug addicted to television and sex.
Hal Walker's AT WAR WITH THE ARMY (1950)
Taurog made four films with the Lewis-Martin tandem, and Tashlin, two; thereafter, Taurog made two films with Lewis alone, and Tashlin, six. Frank Tashlin taught all the tricks of the director's craft to Jerry Lewis, eager to know everything about the technical aspects of cinema. In fact, he aspired only to realization. He tried to do it very early by shooting amateur movies pasticking the great contemporary classics, with the help of his friends Tony Curtis, Janet Leigh, Jeff Chandler and Dean Martin himself. These films are: Fairfax Avenue, parody of Sunset Boulevard ( Boulevard du Crépuscule , 1950); A Spot in the Shade , after A Place in the Sun (A place in the sun,1951); A Streetcar Named Repulsive , from A Streetcar Named Desire ( A Streetcar Named Desire , 1950); The Reinforcer , according to The Enforcer ( The Woman to slaughter , 1951).
THE STOOGE (The Cabotin and his comrade) by Norman Taurog (1952)
By adapting them with great intelligence to the Martin-Lewis tandem, Taurog drew on the comedy classics: William Wellman's Nothing Sacred ( The Merry Suicide , 1937) became Living It Up ( It's not a Life, Jerry , 1954) and the Major and the Minor (Uniform and the Minor, 1942) Billy Wilder, You're Never too Young ( You're Never Too Young , 1955). Taurog, who led a large number of child actors, from Jackie Cooper to Mickey Rooney, treated Martin and Lewis like kids, even dressing him up as a boy.
ARTISTS AND MODELS by Frank Tashlin (1955)
The best films Tashlin realized for the duo were the two: last: Artists and Models ( Artists and Models , 1955) and Hollywood or Bust ( Hollywood or Bust 1956); in this film, the two partners must cross an America populated with pulpy pinup to land in a Hollywood taken madness. In Artists and Models , we see Lewis, a voracious comic book reader, confronting, disguised as a mouse, a disturbing bat woman (in fact a neighboring transvestite). At that time, Lewis and Martin had fabulous deals worth $ 5 million a year!
GAGS AND PROBLEMS
In retrospect, most of the comedies performed by Dean Martin and Jerry Lewis appear to be elementary, trivial, and full of stereotypes, but they are also full of songs and pretty girls and offer this infallible mixture of crazy and languorous music that was then expected of this kind of entertainment. They appealed to everybody, and made both young and old alike. Who could have resisted Jerry Lewis as a stupid college athlete, hypochondriac sailor allergic to the weak sex or devouring a single bean with delight?
MY FRIEND IRMA GOES WEST (Irma to Hollywood) by Hal Walker (1950) with Jerry Lewis
Frank Tashlin continued on his own, but he was less successful than his pupil when he went on to the realization. The company, considering Martin and Lewis as an inalienable good, enjoined them to put an end to their incessant quarrels, which were almost always of the same order: one of the two actors worked a great deal (Jerry), while the other did not practically nothing (Dean). Both had a large family and had a luxurious residence built; both of them had wretched wives who were constantly bickering. [ The great illustrated history of the 7th art - Editions Atlas - 1982]
THE ERRAND BOY directed by Jerry Lewis (1961)
THE DIVORCE
Eventually, it was the break. Martin was tired of being only the stuff of his ambitious partner. Lewis, who was the seat of Stan Laurel during the last years of the great comedian to learn the secrets of the man he admired, told how, having confided the story of their lives to each other, the two actors had discovered many commonalities. Both, perfectionists and tempted by the desire to write and pass behind the camera, were afflicted by a lazy partner who only dreamed of enjoying life and playing golf.
DEAN MARTIN and JERRY LEWIS
The tandem separated in 1956. Jerry Lewis realized his ambitions by staging his own films, very admired in Europe and especially in France (notably by the critic Robert Benayoun) for their comical satires of American manners. Among the best are: The Bellboy ( The Mad's palace , 1960) Ladies' Man ( The Tombeur her ladies , 1961) The Nutty Professor ( The Nutty Professor , 1963), and The Patsy ( Jerry souffre- pain , 1964).
ROCK A BYE (Three babies on the arms) by Frank Tashlin (1958), Jerry Lewis, Marilyn Maxwell, Connie Stevens
Dean Martin continued his career with dramatic roles and played the secret agent Matt Helm while becoming the most famous hedonist and wine connoisseur of the Las Vegas "clan" (Frank Sinatra, Sammy David Jr., Shirley MacLaine, Peter Lawford, etc.).
DEAN MARTIN and JERRY LEWIS
Jerry Lewis et Dean Martin
Environ tous les dix ans, l’Amérique se toquait d’un nouveau tandem comique. A Abbott et Costello, les vedettes d’Universal, succédèrent, de 1946 à 1956, Jerry Lewis et Dean Martin, qui rapportèrent des sommes fabuleuses à la Paramount. A la radio, à la télévision, dans les boîtes de nuit et au cinéma, leur dynamisme et leurs bouffonneries déclenchaient des avalanches de rire, et, dans le monde entier, constituaient le divertissement n° 1 du samedi soir. Les seize films qu’ils firent ensemble avant de se séparer définitivement en 1956 leur apportèrent la consécration internationale. PARDNERS (Le Trouillard du Far West) de Norman Taurog (1956) LE PLAY-BOY ET LE CABOTIN Né à Steubeville, dans l’Ohio, en 1917, Dino Crocetti, un Italo-Américain de la deuxième génération, fut tour à tour livreur de whisky de contrebande, barbier, boxeur et imitateur de Bing Crosby et de Tony Martin. Né en 1926 à Newark, dans le New Jersey, au sein d’une famille de comédiens, Joseph Levitch suivit ses parents, Rhea et Danny « Lewis », dans les tournées qu’ils effectuaient pour le circuit Borscht ; c’est ainsi qu’il chanta sur scène dès l’âge de cinq ans. Ouvreur de cinéma, puis mime, il mit au point un numéro de lip-synh (pantomime synchronisée sur un air célèbre) avec lequel il eut un grand succès. En 1946, à la suite d’un malentendu, Jerry Lewis et Dean Martin se retrouvèrent ensemble sur la scène du Club 500 d’Atlantic City. Le tour de chant du crooner, « agrémenté » par les facéties et les grimaces simiesques de l’affreux Jerry (il faisait gicler l’eau de Seltz, laissait tomber des assiettes, en souriant de toutes ses grandes dents), connut un triomphe immédiat si bien que toutes les boîtes de nuit américaines et les chaînes de télévision se disputèrent le nouveau tandem, et qu’un producteur de la Paramount, Hal Wallis, s’empressa de lui offrir un contrat de cinq ans à 10 000 dollars par semaine. ARTISTS AND MODELS de Frank Tashlin (1955) Après avoir débuté dans My Friend Irma (Ma bonne amie Irma, 1949), Martin et Lewis enchaînèrent avec toute une série de parodies des grands genres cinématographiques (films de guerre, d’aventures maritimes ou sportives, westerns…), comme l’avaient fait avant eux tous les comiques, de Laurel et Hardy aux Marx Brothers, et dans lesquelles Jerry Lewis intégrait, à l’occasion, quelques trouvailles personnelles. S’étant composé le personnage de l’avorton calamiteux, mi-chouchou à sa maman, mi-collégien fugueur, Lewis se faisait tour à tour bousculer et consoler par un Dean Martin cynique et flegmatique, qui séduisait les filles et fredonnait des romances telles que « Tonda Wonda », « Hoy », « Inamorato », « Simpatico », ou « That’s Amore », tandis que son copain dormait dans des réfrigérateurs ou flirtait avec la plus vilaine fille du lot. THE STOOGE (Le Cabotin et son compère) de Norman Taurog (1952) LA RENCONTRE AVEC TAUROG ET TASHLIN Après cette série de films, conçus selon des recettes éprouvées par des professionnels efficaces mais impersonnels comme Hal Walker et George Marshall, le tandem, dont le succès ne faisait que croître, rencontra deux excellents réalisateurs, Norman Taurog et Frank Tashlin, qui, comprenant fort bien les qualités propres aux deux acteurs, concoctèrent pour eux des projets sur mesure – en particulier Tashlin, qui avait travaillé à la Warner avec les plus grands maîtres du gag de dessins animés : Tex Avery, Chuck Jones et Bob Clampett. Tashlin, tenant de la parodie débridée et de la grosse farce, donnait une image apocalyptique de l’Amérique provinciale livrée à un consumérisme effréné, droguée de télévision et de sexe. AT WAR WITH THE ARMY (Le Soldat récalcitrant) de Hal Walker (1950) Taurog fit quatre films avec le tandem Lewis-Martin, et Tashlin, deux ; par la suite, Taurog fit deux films avec le seul Lewis, et Tashlin, six. Frank Tashlin enseigna toutes les ficelles du métier de réalisateur à Jerry Lewis, avide de tout connaître sur les aspects techniques du cinéma. En fait, il n’aspirait qu’à passer à la réalisation. Il s’y essaya très tôt en tournant des films d’amateur pastichant les grands classiques contemporains, avec le concours de ses amis Tony Curtis, Janet Leigh, Jeff Chandler et Dean Martin lui-même. Ces films ont pour titre : Fairfax Avenue, parodie de Sunset Boulevard (Boulevard du Crépuscule, 1950) ; A Spot in the Shade, d’après A Place in the Sun (Une place au soleil, 1951) ; A Streetcar Named Repulsive, d’après A Streetcar Named Desire (Un tramway nommé Désir, 1950) ; The Reinforcer, d’après The Enforcer (La Femme à abattre, 1951). THE STOOGE (Le Cabotin et son compère) de Norman Taurog (1952) En les adaptant avec beaucoup d’intelligence au tandem Martin-Lewis, Taurog puisa dans les classiques de la comédie : Nothing Sacred (La Joyeuse Suicidée, 1937), de William Wellman, devint Living It Up (C’est pas une vie, Jerry, 1954) et The Major and the Minor (Uniforme et jupon court, 1942) de Billy Wilder, You’re Never too Young (Un pitre au pensionnat, 1955). Ayant dirigé un grand nombre d’acteurs-enfants, de Jackie Cooper à Mickey Rooney, Taurog traitait Martin et Lewis comme des gamins, allant jusqu’à habiller ce dernier en garçonnet. ARTISTS AND MODELS de Frank Tashlin (1955) Les meilleurs films que Tashlin réalisa pour le duo furent les deux: derniers : Artists and Models (Artistes et modèles, 1955) et Hollywood or Bust (Un vrai cinglé de cinéma, 1956) ; dans ce film, les deux partenaires doivent traverser une Amérique peuplée de pulpeuses pin-up pour débarquer dans un Hollywood pris de folie. Dans Artists and Models, on voit Lewis, vorace lecteur de bandes dessinées, affronter, déguisé en souriceau, une inquiétante femme chauve-souris (en fait une voisine travestie). A cette époque, Lewis et Martin bénéficiaient de fabuleux contrats d’un montant de 5 millions de dollars par an ! DES GAGS ET… DES PROBLÈMES Rétrospectivement, la plupart des comédies interprétées par Dean Martin et Jerry Lewis semblent élémentaires, triviales et truffées de stéréotypes, mais elles sont aussi pleines de chansons et de jolies filles et offrent ce mélange infaillible de loufoquerie et de musiques langoureuses que l’on attendait alors de ce genre de divertissement. Elles plaisaient à tout le monde et déridaient petits et grands. Qui aurait pu résister à Jerry Lewis en athlète de collège débile, en marin hypocondriaque allergique au sexe faible ou dévorant avec délice un unique haricot ? MY FRIEND IRMA GOES WEST (Irma à Hollywood) de Hal Walker (1950) avec Jerry Lewis Frank Tashlin continua tout seul dans cette voie, mais il eut moins de succès que son élève quand celui-ci passa à la réalisation. La compagnie, considérant Martin et Lewis comme un bien inaliénable, leur enjoignit de mettre un terme à leurs incessantes querelles, qui étaient presque toujours du même ordre : l’un des deux comédiens travaillait beaucoup (Jerry), tandis que l’autre ne faisait pratiquement rien (Dean). Tous deux étaient nantis d’une nombreuse famille et se faisaient construire une luxueuse résidence ; tous deux avaient des épouses acariâtres qui se chamaillaient sans cesse. [La grande histoire illustrée du 7ème art – Editions Atlas – 1982] THE ERRAND BOY (Le Zinzin d’Hollywood) réalisé par Jerry Lewis (1961) LE DIVORCE Finalement, ce fut la rupture. Martin en avait assez de n’être que le faire-valoir de son ambitieux partenaire. Lewis, qui faisait le siège de Stan Laurel pendant les dernières années du grand comique pour apprendre les secrets de celui qu’il admirait, a raconté comment, s’étant mutuellement confié l’histoire de leur vie, les deux acteurs s’étaient découvert de nombreux points communs. Tous deux, perfectionnistes et tentés par l’envie d’écrire et de passer derrière la caméra, étaient affligés d’un partenaire paresseux qui ne songeait qu’à profiter de l’existence et à jouer au golf. DEAN MARTIN et JERRY LEWIS Le tandem se sépara en 1956. Jerry Lewis réalisa ses ambitions en mettant en scène ses propres films, très admirés en Europe et surtout en France (notamment par le critique Robert Benayoun) pour leurs satires cocasses des mœurs américaines. Parmi les meilleurs, citons : The Bellboy (Le Dingue du palace, 1960), Ladie’s Man (Le Tombeur de ses dames, 1961), The Nutty Professor (Docteur Jerry et Mister Love, 1963), et The Patsy (Jerry, souffre-douleur, 1964). ROCK A BYE (Trois bébés sur les bras) de Frank Tashlin (1958), Jerry Lewis, Marilyn Maxwell, Connie Stevens Dean Martin poursuivit sa carrière avec des rôles dramatiques et incarna l’agent secret Matt Helm tout en devenant le plus célèbre hédoniste et amateur de vins du « clan » de Las Vegas (Frank Sinatra, Sammy David Jr., Shirley MacLaine, Peter Lawford, etc.). DEAN MARTIN et JERRY LEWIS
Hey pallies, likes more Dino-devotion of the internationale sort is bein' served up 'gain this very Dino-day here at our humble little ilovedinomartin conclave. Likes today we takes youse to the Italiano blog tagged "Rock 'N' Blog" where Mr. Luca Divelti holds forth. Mr. Divelti speakin' of his bloggin' shares these thoughts with his readership, "Passionate about music, movies, comics and so many things that are sometimes useless, but they fill their lives. My dream is to tell my wife that even though I look at the window, I'm still working. And maybe one day I'll tell you."
Today's potent postin' shares Divelti's powerful passion for our most beloved Dino and his most beloved partner Mr. Jerry Lewis" in the post tagged "WHEN JERRY LEWIS AND DEAN MARTIN MADE PEACE IN TV." Luca's wonderfully wise words on the remarkable reunion of Martin and Lewis includes a trio of images, one of which we ain't ever recall revelin' in before...the one with our Dino and Jerry gathered 'round the ol' typewriter, and a trio of youtube vids...the famous one of the 1976 reunion, one of our Dino's live croonin' in concert in London of "When You're Drinkin'," and a classic clip of our Dino and Mr. Lewis in action on what we believe to be a click from the one of the Colgates.
It's clear that Mr. Divelti is in our Dino's corner likes big time, and he warmed our Dino-hearts when we read this....."The press, in spite of the duo's repeat successes both on television and in cinema, had never been very tender with Martin." Divelti is truly "tender" with our most beloved Dino and you will note that this postin' is greatly greatly Dino-centric, while speakin' of both our Dino and Mr. Lewis.
We are once 'gain totally totally thrilled to share incredible internationale delight in our Dino and thanks Mr. Luca Divelti for his time and talent in sharin' his take on the reverent reunion of our Dino and Mr. Lewis at the 1976 MDA telecast. To checks this out in it's original format, simply clicks on the tag of this here Dino-report.
We remain,
Yours in Dino,
Dino Martin Peters
WHEN JERRY LEWIS AND DEAN MARTIN MADE PEACE IN TV
THE TELETHON MEETING OF 1976.
On September 6, 1976 , Telethon broadcasted television broadcast on Jerry Lewis's initiative to raise funds for research into muscular dystrophy: as usual, at the helm of the event, there was Lewis himself, the guests of the Frank Sinatra show. Shortly after the exchange of companions between the two, The Voice announces a surprise: Dean Martin comes out of the scenes and heads to the two artists, among the general amazement.
Even Jerry Lewis seems astonished (in theory Martin's apparition is unknowingly) and the applause that overwhelms the three figures, while former partners embrace and try to break the ice, reveal how strong the emotion is, aside from still able to remember the magic they both created together. The pair formed by the unmistakable Jerry Lewis ( which we remember a few days ago ) and the confidential singer Dean Martin started in 1946 in his incredible season, which shocked the American show and made them earn millions of dollars, until it was screaming and jealousy did not put an end to marriage and friendship.
The press, in spite of the duo's repeat successes both on television and in cinema, had never been very tender with Martin, considering only a good shoulder and a beautiful young man tune in to the awesome and overwhelming comedy of Lewis: Sinatra, who in the years will become a friend of both, I reveal how little the singer considered in the couple's years, and, like everyone else, was dazzled by the clown with a thousand faces that tore applause to every grimace.
Long-standing Dean Martin did not regret the situation and began to show less participation in the couple's work ( "Jerry means nothing to me unless the dollar symbol" ), interrupting the partnership in 1956, exactly ten years after everything started . Jerry opened another fifteen years of success, but the former companion was no less and he proved that he could be far more than a shoulder: the young lions and Someone will come (where he worked with Sinatra) to reveal the detractors his dramatic qualities, but with one dollar of honor he managed to overcome, giving a try in which he experienced with more strings.
a movie scene One dollar of honor
It was certainly not easy to interpret the part assigned to him by Howard Hawks (Dude, the vice alcoholic sheriff), also because in the years Martin had built the fame of one who gladly raised his elbow, especially when he went on stage. His innate irony had brought him to jokingly sing, singing in his shows When You're Drinking and making heavy allusions to his relationship with the bottle.
He made other films and conducted several shows, as well as joining the Sinatra Rat Pack , but his arrows against Jerry Lewis continued to peer at the newspapers or performances without the other ever replying publicly: these attacks somehow unsuccessful) made the eventual reunion for the couple increasingly unlikely , which was proposed by the press in 1966 and that fell into the void. That is why the appearance at Telethon was amazing for everyone, and especially for Lewis, who had lost hope of being on the same stage with the old partner at twenty years.
That "son of a bitch" hissed by Jerry Lewis at the amused and moved Sinatra, who enjoyed the result of his spilling (as one can easily imagine) negotiation, makes the effect of that embrace on the comic very good. The two ex-friends are struggling to let go and let loose the lack of that old spilliness that can not be recovered in seconds, among other things in front of millions of people. It sounds strange, but even characters like them, accustomed to constantly interacting with the public, have difficulty imitating anything and somewhat seems to steal an intimate and special moment to these two men, who would have so much to say and fail .
Fortunately, there is The Voice , which takes over the situation and moves away from stage Lewis, while they try to joke nervously, ripping a clap from the audience. He shares a duet between Sinatra and Martin, but he does not play the song as it would be expected: he falls into the clown's part as Lewis did in their couple years and, looking often at the old partner, seems to want to show proudly that he can do too the comedian. Jerry Lewis does not miss a second of the show and you do not know what you think while Sinatra is constantly bothered and the band struggles to stay behind. All this is visible in the broadcast movie below.
After the Telethon, the two artists did not return to attend, and even though peace broke out, Martin's son wanted to die in 1987 to give up the last resistance. Lewis went to the funeral and did not look for any contact with the old friend, and went to the end of the job. Martin, know the thing, I appreciate the discretion, and from there the things, tiringly, really resumed. The two remained in touch until Dean Martin died in 1995.
Even separate Jerry Lewis and Dean Martin have been among the best artists of the last century, but together they were unmanageable: no wonder they missed so much to their audience. And maybe, in the end, even a little to themselves.
QUANDO JERRY LEWIS E DEAN MARTIN FECERO PACE IN TV L’INCONTRO AL TELETHON DEL 1976. Il 6 settembre del 1976 andava in onda Telethon, la trasmissione televisiva nata su iniziativa di Jerry Lewis per raccogliere fondi per la ricerca sulla distrofia muscolare: come la solito, al timone dell’evento c’era lo stesso Lewis, che quella sera aveva tra gli ospiti dello show Frank Sinatra. Poco dopo lo scambio di convenevoli tra i due, The Voice annuncia una sorpresa: Dean Martin esce dalle quinte e si dirige verso i due artisti, tra lo stupore generale. Anche Jerry Lewis sembra stupito (in teoria l’apparizione di Martin è a sua insaputa) e gli applausi che sommergono le tre figure, mentre gli ex partner si abbracciano e provano a rompere il ghiaccio, rivelano quanto sia forte l’emozione anche da parte del pubblico, ancora capace di ricordare la magia che i due sapevano creare insieme. La coppia formata dall’incontenibile Jerry Lewis (che abbiamo ricordato pochi giorni fa) e dal cantante confidenziale Dean Martin inizio’ nel 1946 la sua incredibile stagione, che sconvolse lo spettacolo americano e fece loro guadagnare milioni di dollari, fino a che screzi e gelosie non posero fine al connubio e all’amicizia.
La stampa, nonostante i successi a ripetizione del duo sia in televisione che al cinema, non era mai stata molto tenera con Martin, reputandolo solo una brava spalla e il bel giovanotto intonato da affiancare alla strepitosa e debordante comicità di Lewis: lo stesso Sinatra, che negli anni diverrà amico di entrambi, rivelo’ quanto poco tenesse in considerazione il cantante negli anni della coppia, mentre, come tutti, era abbagliato dal clown dalle mille facce che strappava applausi a ogni smorfia. Alla lunga Dean Martin non resse la situazione e inizio’ a mostrarsi meno partecipe al lavoro di coppia (“Jerry non significa nulla per me se non il simbolo del dollaro”), interrompendo il sodalizio nel 1956, esattamente dieci anni dopo che tutto era iniziato. Per Jerry si aprirono altri quindici anni di successi, ma anche l’ex compagno non fu da meno e riuscì a dimostrare che poteva essere molto più di una spalla: I giovani leoni e Qualcuno verrà (in cui lavorò con Sinatra) rivelarono ai detrattori le sue doti drammatiche, ma con Un dollaro d’onore riuscì a superarsi, regalando una prova in cui toccava con bravura più corde.
una scena del film Un dollaro d’onore Non era stato sicuramente facile interpretare la parte assegnatagli da Howard Hawks (Dude, il vice sceriffo alcolizzato), anche perché negli anni Martin si era costruito la fama di uno che alzava volentieri il gomito, soprattutto quando andava in scena. La sua innata ironia lo aveva portato a scherzarci su, cantando nei suoi spettacoli When You’re Drinking e facendo pesanti allusioni al suo rapporto con la bottiglia. Girò altri film e condusse svariati show, oltre a entrare nel Rat Pack di Sinatra, ma le sue frecciate nei confronti di Jerry Lewis continuarono a fare capolino sui giornali o nei suoi spettacoli, senza che l’altro replicasse mai pubblicamente: questi attacchi (di certo poco graditi) rendevano sempre più improbabile l’eventuale reunion per la coppia, che fu proposta dalla stampa nel 1966 e che cadde nel vuoto. Per questo l’apparizione al Telethon fu sorprendente per tutti e soprattutto per Lewis, che ormai aveva perso la speranza di ritrovarsi sullo stesso palco con il vecchio socio a distanza di vent’anni. Quel “son of a bitch” sibilato da Jerry Lewis al divertito e commosso Sinatra, che si godeva il risultato della sua sfiancante (come si può facilmente immaginare) trattativa, rende benissimo l’effetto di quell’abbraccio sul comico. I due ex amici stentano a lasciarsi andare e lasciano trapelare la mancanza di quell’antica spigliatezza che non può essere recuperata in pochi secondi, tra l’altro davanti a milioni di persone. Sembra strano, ma anche personaggi come loro, abituati a vivere a contatto costantemente con il pubblico, hanno difficoltà a far finta di nulla e un pò sembra di rubare un momento intimo e speciale a questi due uomini, che avrebbero tanto da dirsi e non riescono. Per loro fortuna c’é The Voice, che prende in mano la situazione e allontana dal palco Lewis, mentre questi prova a scherzare nervosamente, strappando comunque un applauso dal pubblico. Parte una duetto tra Sinatra e Martin, ma questi non esegue la canzone come ci si aspetterebbe: si cala nella parte del clown come faceva Lewis nei loro anni in coppia e, guardando spesso il vecchio partner, sembra volergli dimostrare orgogliosamente che anche lui può fare il comico. Jerry Lewis non si perde un secondo dell’esibizione e non è dato sapere cosa pensi mentre Sinatra viene infastidito di continuo e la banda fa fatica a stare loro dietro. Tutto questo è visibile nel filmato della trasmissione qui sotto. Dopo il Telethon i due artisti non ripresero a frequentarsi e, anche se la pace era scoppiata, ci volle la morte del figlio di Martin nel 1987 per far cedere le ultime resistenze. Lewis si presento’ al funerale e non cerco’ alcun contatto con il vecchio amico, andandosene a funzione terminata: Martin, saputa la cosa, apprezzo’ molto la discrezione e da lì le cose, faticosamente, ripartirono davvero. I due restarono in contatto fino alla morte di Dean Martin nel 1995. Anche da separati Jerry Lewis e Dean Martin sono stati tra i migliori artisti del secolo scorso, ma insieme erano qualcosa d’incontenibile: non c’è da stupirsi che mancassero così tanto al loro pubblico. E forse, alla fine, anche un pò a sé stessi.
Hey pallies, likes what a complete challenge and powerful privilege it has been, and likes continues to be, to solemnly share the incredible intriguin' insights of pallies reverently reflectin' on their marvelously magical memories of growin' up with our most beloved Dino and his most beloved partner, Mr. Jerry Lewis. And, these swank scribin's have poured into the ol world wide web from all over the known Dino-world.
Case in point, likes today we visit with Mr. Ronal Julio Bravo Semprun, citizen of Venezuela, and blog host at "Reflections of Half Day - Reflections of a citizen of the world, an idea to transform humanity." His his recent personal post simply tagged "JERRY LEWIS AND DEAN MARTIN," Mr. Semprun swankly shares ruminatin' reflections on, as a child on Saturday afternoons "looking for a movie in the only 3 channels, from the American comedy duo Jerry Lewis and singer Dean Martin."
Likes Dino-holics, as you read below, you will sweetly savor Ronal's deep delight in bein' reminded "
that on Saturdays, it was late afternoons to eat pepitos and to drink sugary soda, seeing these actors, who made me laugh a lot and think again as it was childhood." How many of us Dino-devotees remarkably resonate with Mr. Semprun on our marvelous memories of spendin' time with our Dino and Mr. Lewis as children. And, how winsomely wonderful it is 'cause we now have access to the likes of DVDs, that today's youth are once 'gain bein' turned on to our one and only Dino and his partner, Mr. Jerry Lewis!
Today, we are totally totally thrilled to show how our Dino and Mr. Lewis have, and will continue to cooly create memories from pallies all over the Dino-globe, and we sez our special thanks to Mr. Ronal Julio Bravo Semprun for sharin' his own fondest of fond memories of hangin' out with our Dino and Mr. Lewis growin' up in the great country of Venezuela. To checks this out in it's original source, likes simply clicks on the tag of this Dino-report.
We remain,
Yours in Dino,
Dino Martin Peters
Friday, September 8, 2017
JERRY LEWIS AND DEAN MARTIN
Reflections of Half Day (08 -09-2017 )
Time: 5.10 p.m.
Dean Martin and Jerry Lewis
When I was a kid, I really enjoyed watching TV, especially my Uncle Yihcson's Saturday afternoons to buy groceries and he brought me the popular pepita and the Pepsicola soda, I sat in the afternoon in front of the picture box, I liked to see him but I was looking for a movie in the only 3 channels, from the American comedy duo Jerry Lewis and singer Dean Martin.
He enjoyed it very much as Jerry Lewis got into trouble and Dean Martin rescued him from his difficulty, were very simple situations, loaded with everyday humor, with much wisdom in the smart, did not need to see a nude, or bad words, because between the characterizations of Lewis and the solemnity of Martin, laughter was assured.
It was not a secret that behind the show, the pair Lewis-Martin, did not get along, had personal differences, but what caused the break after 10 years together (1946-56), was the fight of egos among them, Jerry Lewis thought that the show "el" was more important and Dean Martin aspired to consolidate a singing career and so the unstoppable duo, which made millions of people laugh, broke up.
Dean Martin became a famous singer and actor, with great performance with the "Pat Rat", immersed in a depression after the mortal accident of his eldest son and passed away at the age of 78 in 1995.
Jerry Lewis became an icon of American humor, with many movies, television shows and live performances, he died last August 20 at the age of 91.
This recent death of Jerry Lewis reminded me that on Saturdays, it was late afternoons to eat pepitos and to drink sugary soda, seeing these actors, who made me laugh a lot and think again as it was childhood.
Laughter and good memories, always make us look good, regardless of our present.
Are Reflections of Half Day
MSc. Ronal Julio Bravo Semprun
Twitter: @Reflexionesmd
Instagram: Reflections
Maracaibo / Edo.Zulia / Venezuela
Reflexiones de un ciudadano del mundo,una idea para transformar la humanidad.
viernes, 8 de septiembre de 2017
JERRY LEWIS Y DEAN MARTIN
Reflexiones de Medio Día (08-09-2017)
Hora: 5.10 pm
Dean Martin y Jerry Lewis
Cuando era niño disfruta mucho viendo televisión, en especial las tardes de sábados mi tio Yihcson hacia la compra de víveres y me traía el popular pepito y el refresco Pepsicola, me sentaba en la tarde frente a la cajita de imágenes, me gustaba mucho ver el futbol, pero buscaba en los 3 únicos canales siempre alguna película, del dúo norteamericano del humorista Jerry Lewis y el cantante Dean Martin.
Disfrutaba mucho como Jerry Lewis se metía en problemas y Dean Martin lo rescata de su dificultad, eran situaciones muy simples, cargadas de humor cotidiano, con mucha sabiduría en lo inteligente, no hacía falta ver un desnudo, ni malas palabras, porque entre las caracterizaciones de Lewis y la solemnidad de Martin, las risas estaban aseguradas.
No fue un secreto que detrás del show, la pareja Lewis-Martin, no se llevaba bien, tenían diferencias personales, pero lo que provocó la ruptura después de 10 años juntos (1946-56), fue la lucha de egos entre ellos, Jerry Lewis pensaba que en el show “el” era más importante y Dean Martin aspiraba a consolidar una carrera de cantante y así que el dúo imparable, que hizo reír a millones de personas, se separó.
Dean Martin se consolido un célebre cantante y actor, con gran actuación con los “Pat Rat”, se sumergió en una depresión después del accidente mortal de su hijo mayor y falleció a los 78 años en el año 1995.
Jerry Lewis se convirtió en un icono del humorismo norteamericano, con gran cantidad de películas, shows de televisión y presentaciones en vivo, el pereció el pasado día 20 de agosto a la edad de 91 años.
Esta reciente muerte de Jerry Lewis, me hizo recordad que los días sábados, eran tardes comer pepitos y tomar refresco azucarado, viendo a estos actores, que me hacían reír mucho y pensar de nuevo como era la niñez.
La risa y los buenos recuerdos, siempre nos hacen poner buena cara, sin importar nuestro presente.
Son Reflexiones de Medio Día
MSc. Ronal Julio Bravo Semprun
Twitter: @Reflexionesmd
Instagran: Reflexionesmd
