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  Toonami Infolink :: View topic - Famous Celebrity/Obscure Notable Deaths 2007 Edition
Toonami Turner Cartoon Network Thundercats Voltron Space Ghost Birdman Herculoids Dino Boy Galaxy Trio Mighty Mightor Moby Dick Shazzan The Impossibles Max Fleisher's Superman (a.k.a. Roulette) The Real Adventures of Johnny Quest Robotech Sailor Moon DragonBall Z Filmation Superman Batman Superfriends ReBoot Ronin Warriors G-Force Powerpuff Girls Batman: The Animated Series Gundam Wing Tenchi Muyo! Universe in Tokyo Superman Outlaw Star Big O CardCaptors Mobile Suit Gundam O8th MS Team DragonBall Batman Beyond Gundam 0080 Zoids: Zero Hamtaro Zoids: Chaotic Century Guardian Force G Gundam He-Man and the Masters of the Universe Transformers: Armada G.I. Joe .hack//Sign Yu Yu Hakusho Rurouni Kenshin QuickTime .mov MOV AVI .avi MPEG .mpg Movies movie Videos Clips Sounds articles rants essays images files CNX inner circle cn2 revolution Japan japanese multimedia saban funimation toei graz harmony gold mainframe Tyler Zogg TylerLToonami Turner Cartoon Network Thundercats Voltron Space Ghost Birdman Herculoids Dino Boy Galaxy Trio Mighty Mightor Moby Dick Shazzan The Impossibles Max Fleisher's Superman (a.k.a. Roulette) The Real Adventures of Johnny Quest Robotech Sailor Moon DragonBall Z Filmation Superman Batman Superfriends ReBoot Ronin Warriors G-Force Powerpuff Girls Batman: The Animated Series Gundam Wing Tenchi Muyo! Universe in Tokyo Superman Outlaw Star Big O CardCaptors Mobile Suit Gundam O8th MS Team DragonBall Batman Beyond Gundam 0080 Zoids: Zero Hamtaro Zoids: Chaotic Century Guardian Force G Gundam He-Man and the Masters of the Universe Transformers: Armada G.I. Joe .hack//Sign Yu Yu Hakusho Rurouni Kenshin QuickTime .mov MOV AVI .avi MPEG .mpg Movies movie Videos Clips Sounds articles rants essays images files CNX inner circle cn2 revolution Japan japanese multimedia saban funimation toei graz harmony gold mainframe Tyler Zogg TylerL
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Famous Celebrity/Obscure Notable Deaths 2007 Edition
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Nobuyuki

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Kurt Vonnegut, the Indianapolis-born literary giant behind seminal 20th-century novels "Slaughterhouse-Five" and "Breakfast of Champions," died Wednesday evening at age 84.

Vonnegut, who often marveled that he had lived so long despite his lifelong smoking habit, had suffered brain injuries after a fall at his Manhattan home weeks ago, said his wife, photographer Jill Krementz.

"He's the closest thing we've had to Voltaire," Tom Wolfe, whose first book had a blurb from Vonnegut, told Bloomberg News Service. "It's a sad day for the literary world."

Vonnegut had been scheduled to speak in Indianapolis on April 27 as part of the ongoing "Year of Vonnegut" celebration honoring his life and work. Vonnegut's son Mark planned to give the 2007 McFadden Memorial Lecture written by his father.

The author's writing was distinctive for its combination of the satirical and the fantastical, and leavened by a black humor that looked disdainfully upon humankind's capacity for destruction.

"I will say anything to be funny, often in the most horrible situations," Vonnegut, whose watery, heavy-lidded eyes and unruly hair made him seem to be in existential pain, once told a gathering of psychiatrists.

Other notable novels include "Cat's Cradle," "The Sirens of Titan" and "God Bless You, Mr. Rosewater."

Vonnegut grew up in a prominent Indianapolis family, born in 1922 to Kurt (Sr.) and Edith Vonnegut. His father and grandfather were architects, and his mother was the daughter of millionaire brewer Albert Lieber.

Though he left Indianapolis more than 50 years ago, Mr. Vonnegut never severed his ties to the city.

"Today, Indianapolis mourns the loss of a native son and literary legend," said Mayor Bart Peterson in a statement Wednesday night. Born and raised in Indianapolis, Kurt Vonnegut regularly referenced his Hoosier ties and spoke fondly of his formative years here. The pride that Vonnegut often expressed in his Indianapolis roots is certainly reciprocated by the pride we feel in his tremendous life and legendary work. He and his imaginative, thought-provoking literature will be greatly missed. Our thoughts and prayers go out to the Vonnegut family," Peterson said.

While serving in the Army during World War II, he was captured by the Germans at the Battle of the Bulge. As a prisoner of war, he witnessed the 1945 firebombing of Dresden. The horrific deaths of thousands of civilians later inspired him to write "Slaughterhouse-Five," widely regarded as his masterpiece, nearly a quarter-century later.

"He is the representative writer of the post-World War American," Donald E. Morse, a professor at the University of Debrecen, Hungary, and author of "The Novels of Kurt Vonnegut: Imagining Being an American," told Bloomberg. "This is the person who recorded the effects of the Great Depression on people, World War II, Vietnam, drugs, you name it, he covered it in his fiction and he did it in a way that we had to pay attention to."

A graduate of Shortridge High School who attended Cornell University before enlisting in the military, Vonnegut began publishing short stories in the 1950s while working in public relations for General Electric. His first novel, "Player Piano," was published in 1952.

He publicly proclaimed his 1997 novel "Timequake" would be his last work of fiction. He continued writing essays, often contemptuous of the presidency of George W. Bush, which were published in a 2005 collection titled "A Man Without a Country."

An avowed humanist, Vonnegut became more pessimistic about human capacity for good in his later years. In a 2004 essay he wrote, "Only a nut case would want to be a human being, if he or she had a choice." And he told the Los Angeles Times in a 2005 interview, "I think we're a very bad idea. Look at the 20th century. You've got the Holocaust, two world wars, Hiroshima. Let's just call it off."

Tragedy was a recurring trait throughout his life. Vonnegut's mother killed herself in 1944, and he attempted suicide in 1984. He wrote about his attempt several times. He suffered smoke inhalation during a 2000 fire that destroyed part of his New York townhouse.
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PostThu Apr 12, 2007 12:42 am
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AdmiralGreer

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Don Ho, who was part of what Hawaii was to legions of Tourists died today.

http://news.yahoo.com/s/ap/20070415/ap_en_mu/obit_ho

Another part of the old (the one that lasted from 1959 to around 1992) Hawaii, gone forever.
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PostSat Apr 14, 2007 9:35 pm
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Daikun

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Bobby "Boris" Pickett, the writer and performer of the infamous Halloween song The Monster Mash, passed away yesterday at the age of 69. He died from leukemia.

http://www.wnbc.com/news/13203109/detail.html
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PostThu Apr 26, 2007 3:04 pm
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Nobuyuki

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Jack Valenti, Hollywood's film industry lobbyist who developed the modern US movie ratings system, has died of complications resulting from his stroke in March at his Washington home, said Seth Oster of the Motion Picture Association of America (MPAA). He was 85.

Valenti had led the MPAA for 38 years, introducing the G, PG, R and X film ratings system. He retired in 2004.

Earlier in his career, Valenti had been an aide to Presidents John F Kennedy and Lyndon Johnson. He was in the motorcade when President Kennedy was assassinated in Dallas in 1963.

As the man who represented the Hollywood industry in Washington, Valenti was a fierce opponent of film piracy, crusading for copyright enforcement. He also abolished the industry's restrictive Hays code, which prohibited explicit violence and sex on the screen.

The film ratings system that Valenti laid out in the 1960s generally has remained intact, although some changes have been added over the decades.

Dan Glickman, Valenti's successor at the MPAA, said he embodied the "theatricality" of the industry.

"Jack was a showman, a gentleman, an orator, and a passionate champion of this country, its movies, and the enduring freedoms that made both so important to this world," Mr Glickman said in a statement.

Hollywood directors and actors paid tribute to Valenti, with Stephen Spielberg calling him "a giant voice of reason" and "the greatest ambassador Hollywood has ever known".

Kirk Douglas said that Valenti had been "a loyal and caring friend to many people".

Valenti once said that the 1966 film A Man For All Seasons was his favourite movie.

"I'm the luckiest guy in the world, because I spent my entire public working career in two of life's classic fascinations, politics and Hollywood," he said.

"You can't beat that."
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"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
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"Superman can't be emo. He can't cut himself."-CP
PostThu Apr 26, 2007 11:51 pm
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Nobuyuki

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As an Apollo kid, I can't let this one go unnoted. So long, space cowboy... Sad


Wally Schirra, one of America's seven original Mercury astronauts, and the only man to fly on all three of NASA's pre-shuttle space programs, died Thursday morning in California at the age of 84, NASA officials confirmed.

His family said he died late Wednesday and had been suffering from cancer, David Mould, NASA press secretary in Washington, said Thursday.

Schirra, who was named an astronaut by NASA in April 1959, became the third American to orbit the Earth when he piloted the six-orbit Sigma 7 Mercury flight on Oct. 3, 1962, a flight that lasted a little more than nine hours.

He returned to space three years later as commander of Gemini 6 and guided his two-man capsule toward Gemini 7, already in orbit.

On Dec. 15, 1965, the two ships came within a few feet of each other as they shot through space, some 185 miles above the Earth. It was the first rendezvous of two spacecraft in orbit.

His third and final space flight in 1968 inaugurated the Apollo program that sought to land a man on the moon.

The former Navy test pilot said he initially had little interest when he heard of NASA's Mercury program. But he grew more intrigued over time and the space agency named him one of the Mercury Seven in April 1959.

Supremely confident, he sailed through rigorous astronaut training with what one reporter called "the ease of preparing for a family picnic."

He became the fifth American in space when he blasted off from Cape Canaveral on Oct. 3, 1962, aboard the Sigma 7 Mercury spacecraft. The first two American astronauts made suborbital space flights. Fellow astronaut John Glenn was the first American to pilot an orbital flight.

"I'm having a ball up here drifting," Schirra said from space.

At the end of his sixth orbit, Schirra piloted the capsule for a perfect splashdown in the Pacific Ocean.

"No one has flown better than you," NASA Administrator James E. Webb told him a few days later.

In addition to Schirra, the original Mercury Seven astronauts were: Alan Shepard, Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom and Deke Slayton.

With Schirra's death, only Glenn and Carpenter survive.

All seven were immortalized in the Tom Wolfe book, "The Right Stuff," which chronicled the lives of the original astronauts and the most famous non-astronaut, test pilot Chuck Yeager.

Although he never walked on the moon, Schirra laid some of the groundwork that made future missions possible.

He liked to stress that NASA never planned to simply send a person to the moon.

"Moon and back," Schirra would point out. "We did confirm a round trip from the very beginning. And 'moonandback' is one word. No hyphens. No commas."

His Gemini mission represented a major step forward in the nation's space race with the Soviet Union, proving that two ships could dock in space. Schirra's Apollo 7 mission in 1968 restored the nation's confidence in the space program, which had been shaken a year earlier when three astronauts were killed in a fire on the launch pad.

His last space flight, aboard Apollo 7, shot into space on Dec. 15 atop a Saturn rocket, a version of which would later carry men to the moon. But Schirra and his two fellow crewmembers were grumpy for most of the 11-day trip. All three developed bad colds that proved to be a major nuisance in weightlessness.

The following year, Schirra resigned from NASA and retired from the Navy with the rank of captain. He had logged 295 hours, 154 minutes in space.

"Mostly it's lousy out there," Schirra said in 1981 on the occasion of the first space shuttle flight. "It's a hostile environment, and it's trying to kill you. The outside temperature goes from a minus 450 degrees to a plus 300 degrees. You sit in a flying Thermos bottle."

A native of Hackensack, N.J., Schirra developed an early interest in flight. His father was a fighter pilot during World War I and later barnstormed at county fairs with Schirra's mother, who sometimes stood of the wing of a biplane during flights.

Wally, as he liked to be called, took his first flight with his father at age 13 and already knew how to fly when he left home for the U.S. Naval Academy in Annapolis, Md.

After graduation in 1945, Schirra served in the Seventh Fleet and flew 90 combat missions during the Korean War. He was credited with shooting down one Soviet MiG-15 and possibly a second. He received the Distinguished Flying Cross and two Air Medals.

In 1984, he moved to the San Diego suburb of Rancho Santa Fe, serving on corporate boards and as an independent consultant. His favorite craft became the Windchime, a 36-foot sailboat.

Schirra was inducted into the Naval Aviation Hall of Honor in 2000.
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP


Last edited by Nobuyuki on Mon Nov 19, 2007 9:07 pm; edited 1 time in total
PostThu May 03, 2007 11:22 pm
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Nobuyuki

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Don Herbert, TV’s ‘Mr. Wizard,’ dies at 89

LOS ANGELES - Don Herbert, who as television’s “Mr. Wizard” introduced generations of young viewers to the joys of science, died Tuesday. He was 89.

Herbert, who had bone cancer, died at his suburban Bell Canyon home, said his son-in-law, Tom Nikosey.

“He really taught kids how to use the thinking skills of a scientist,” said former colleague Steve Jacobs. He worked with Herbert on a 1980s show that echoed the original 1950s “Watch Mr. Wizard” series, which became a fond baby boomer memory.

Mr. Herbert held no advanced degree in science, he used household items in his TV lab, and his assistants were boys and girls. But he became an influential showman-science teacher on his half-hour “Watch Mr. Wizard” programs, which ran on NBC from 1951 to 1965.

Millions of youngsters may have been captivated by Howdy Doody and the Lone Ranger, but many were also conducting science experiments at home, emulating Mr. Wizard.

“Watch Mr. Wizard,” which was aimed at youngsters between 8 and 13, received a Peabody Award in 1953 for young people’s programming. More than 100,000 children were enrolled in 5,000 Mr. Wizard Science Clubs by the mid-1950s.

After his children’s program went off the air, Mr. Herbert remained a presence in TV science programming with general-audience shows like “How About” and “Exploration.” NBC revived “Watch Mr. Wizard” for one year in the early ’70s. In the 1980s Mr. Herbert reprised his children’s shows with “Mr. Wizard’s World” on the Nickelodeon cable network. He became something of a TV celebrity beyond his lab as a guest of Johnny Carson, David Letterman and Regis Philbin and a panelist on “Hollywood Squares.”

Working in shirtsleeves on his TV laboratory set, Mr. Herbert aroused the curiosity of children in an informal way that turned sometimes arcane scientific conceptions into fun. “What was really remarkable about Mr. Wizard was that he talked to the kids as if they were real people,” said Frank Wilczek, a physicist at the Institute for Advanced Studies in Princeton, N.J., in a 1990 interview while recounting informal approaches to teaching science.

During the 1960s and ’70s, about half the applicants to Rockefeller University in New York, where students work toward doctorates in science and medicine, cited Mr. Wizard when asked how they first became interested in science.

Donald Jeffry Herbert was born in Waconia, Minn. He took part in dramatic productions at La Crosse State Teachers College of Wisconsin. After graduating in 1940 with a degree in English and general science, he acted opposite Nancy Davis, the future Nancy Reagan, in summer stock.

After service as a bomber pilot in Europe during World War II, he worked as an actor, model and radio-show writer in Chicago, then developed “Watch Mr. Wizard,” which made its debut in 1951 on WMAQ-TV, the NBC affiliate in Chicago. The program later originated in New York and was eventually carried by more than 100 stations.

Although Mr. Herbert had some scientific knowledge from his college studies, “everything on the show I learned by doing it,” he once said. He accumulated 18 file cabinets filled with notes.

His hallmark was the use of common objects to illustrate scientific principles. He cut out sections of paper plates to illustrate an optical illusion, ran smoke through a soda straw to make air currents visible and shined a flashing light to represent the strength of radiation.

“If you used scientific equipment that’s strange to the child, it’s not going to help him or her understand,” Mr. Herbert told the Voice of America’s “Our World” program in 2006. “So we used everyday equipment.”

Mad magazine and the comedic pairing of Bob and Ray spoofed Mr. Herbert, to his delight. In fact, his experiments sometimes did go awry.

“Once I was supposed to pour two colorless fluids into a glass, and by the count of five the fluid was supposed to turn black,” he once recalled. “It was a complicated experiment in which many factors, like temperature and acidity, had to be just right for the fluid to turn black. Well, I think I counted to 20 before it changed. But even when things went wrong, we would always explain why.”

Mr. Herbert continued to spread knowledge of science in his final years, reprising his original shows on DVDs.

He is survived by his wife, Norma, and six children and stepchildren.

Mr. Herbert was complemented by the youngsters he recruited to help with the experiments. One of them, Rita McLaughlin, Mr. Herbert’s sidekick at age 14, became a soap-opera actress.

“What really did it for us was the inclusion of a child,” Mr. Herbert told The St. Louis Post-Dispatch in 2004. “When we started out, it was just me up there alone. That was too much like having a professor give a lecture. We cast a boy and a girl to come in and talk with me about science. That’s when it took off.”

Mr. Herbert once said in an interview how “all the kids were just terrific, but they ideally had to be around 11 or 12. Once they got beyond 13, they became know-it-alls.”

Asked why he didn’t use his own children on his programs, Mr. Herbert replied, “Because then I couldn’t fire them.”
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"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
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"Superman can't be emo. He can't cut himself."-CP


Last edited by Nobuyuki on Fri Jun 15, 2007 3:18 am; edited 1 time in total
PostTue Jun 12, 2007 8:36 pm
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Daikun

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Wow. I vaguely remember his show from my childhood. I used to watch it really early in the morning. I had no idea he was still alive.

I can't believe he's gone. Crying or Very sad
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PostTue Jun 12, 2007 10:07 pm
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JJc14

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Just about everyone from my generation remembers watching "Mr. Wizard's World" in the early mornings before grade school during the '80s. Hell, one of my science teachers taped a ton of episodes and would play them in class from time to time...

The man just had a way to capture a kid's imagination despite the dull setting (usually just him in his lab). It's sad to hear of his passing, but I think his impact will be seen in the years to come...
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PostSun Jun 17, 2007 9:42 am
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Nobuyuki

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NASHVILLE, Tenn. (AP) -- Boots Randolph, whose spirited saxophone playing on "Yakety Sax" endeared him to fans for years on Benny Hill's TV show, died Tuesday. He was 80.

Randolph suffered a cerebral hemorrhage June 25 and had been hospitalized in a coma. He was taken off a respirator at Skyline Medical Center earlier Tuesday, said Betty Hofer, a publicist and spokeswoman for the family.

Randolph played regularly in Nashville nightclubs for 30 years, becoming a tourist draw for the city much like Wayne Newton in Las Vegas and Pete Fountain in New Orleans.

He recorded more than 40 albums and spent 15 years touring with the Festival of Music, teaming with fellow instrumentalists Chet Atkins and Floyd Cramer.

As a session musician, he played on Elvis Presley's "Return to Sender," Roy Orbison's "Oh, Pretty Woman," Brenda Lee's "Rockin' Round the Christmas Tree" and "I'm Sorry," REO Speedwagon's "Little Queenie," Al Hirt's "Java" and other songs including ones by Buddy Holly and Johnny Cash.

In 1963 he had his biggest solo hit, "Yakety Sax," which he co-wrote with guitarist James Rich.

"'Yakety Sax' will be my trademark," Randolph said in a 1990 interview with The Associated Press. "I'll hang my hat on it. It's kept me alive. Every sax player in the world has tried to play it. Some are good, some are awful."

"Yakety Sax" was the name of one of his gold albums and became the theme song for "The Benny Hill Show."

"It rejuvenated the song," Randolph said in 1990. "So many people know it from the show."

He also was part of the Million Dollar Band on the TV show "Hee Haw."

"He not only played just the notes, he caressed them," said longtime "Hee Haw" co-host Roy Clark. "You could hear the words to his instrumentals."

Randolph was born Homer Louis Randolph in Paducah, Ky., and grew up in the rural community of Cadiz, Ky., where he learned to play music with his family's band.

He said he didn't know where or why he got the nickname "Boots," although his Web site at the time of his death suggested it was to avoid confusion because he and his father shared the same first name.

Randolph began playing the ukulele and then the trombone, but switched to the tenor sax when his father unexpectedly brought one home.

He graduated from high school in Evansville, Ind., then joined the Army and became a member of the Army Band.

After his discharge, he played primarily jazz at nightclubs for $60 a week. He finally landed a recording contract with RCA in Nashville in 1958 and was hired as a musician for recording sessions.

Randolph had his own nightclub in Nashville's Printer's Alley for 17 years, closing it in 1994 because of declining business and to spend more time with his family.

He played regularly at other nightclubs before and after that. He had lived in Nashville since 1961.

Randolph charted 13 albums on the pop charts from 1963 to 1972. His other single hits included "Hey, Mr. Sax Man" in 1964 and "Temptation" in 1967.

"Every time I pick the horn up, it's more intriguing to me," he said. "It satisfies my desire to do whatever I do.

"I think I probably get better because I work so much. You get to a point where you can be lackadaisical or nonchalant. But I'm not like that. I worry if I play a tune bad or my horn is not working right."
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"Superman can't be emo. He can't cut himself."-CP
PostTue Jul 03, 2007 10:24 pm
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Nobuyuki

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Ingmar Bergman, 89, a Swedish writer-director whose name came to define an entire genre of stark movies about the human condition, including "The Seventh Seal," "Wild Strawberries" and "Persona," died yesterday at his home on Faro Island, off the Baltic coast of Sweden. No cause of death was disclosed.

Three of Bergman's movies received the Academy Award for best foreign-language film: "The Virgin Spring" (1960), about a 14th-century Swede who avenges the rape and death of his daughter; "Through a Glass Darkly" (1961), about a modern family in spiritual crisis; and his final film, "Fanny and Alexander" (1982), a story of an adolescence that is alternately charmed and terrifying.

Bergman's style of intensely personal cinema -- where desire and suffering dominated the characters' lives -- first gained wide attention in the early 1950s. His work contrasted with the output of some American filmmakers, who were making far lighter comedies and dramas or promoting gimmicks such as 3-D and Smell-o-Vision.

Film historian and critic David Sterritt said Bergman made it fashionable among American audiences to discuss movies as an art form. Previously, that distinction was largely reserved for adaptations of Shakespeare or other literary classics.

"He showed that cinema could be a genuine art that could take on the deepest of all human themes," Sterritt said.

In Europe, movie directors such as Jean-Luc Godard and François Truffaut helped break visual and narrative rules. But Bergman stood out for making disturbingly psychological films that explored emotional isolation and spiritual crisis, often about living in a nuclear age.

Women were especially prominent in Bergman's films -- and not as cardboard heroines. Bergman's female characters usually stood on the brink of mental collapse, confused by their doubts and passions.

Men were often hapless bystanders, incapable of understanding their own lives, much less those of anyone around them.

"The people in my films are exactly like myself -- creatures of instinct, of rather poor intellectual capacity, who at best only think while they're talking," Bergman once said. "Mostly they're body, with a little hollow for the soul."

For his psychological insights, Bergman won favorable comparisons with August Strindberg, the 19th-century playwright he admired.

Bergman's nearly 60 motion pictures found their greatest fans among viewers in art-house theaters, who felt challenged by his heavily abstract, sometimes allegorical storytelling technique.

His most enthusiastic American champion was Woody Allen, who tried to mimic Bergman's themes with "Interiors" and "A Midsummer Night's Sex Comedy," but Ang Lee ("The Ice Storm") and Peter Greenaway ("The Cook, the Thief, His Wife & Her Lover") also spoke of Bergman's influence on their works.

Bergman created a stock company of performers, including Max von Sydow, Liv Ullmann, Bibi Andersson, Ingrid Thulin, Harriet Andersson, Gunnar Bjornstrand and Erland Josephson. He relied heavily on cinematographers Gunnar Fischer and Sven Nykvist, who captured with unparalleled beauty the cruelty, sensuality and selfishness colliding in the same scene.

Bergman worked closely with his cinematographers to create some of the most memorable images in cinema. One such moment was the finale of "The Seventh Seal" (1957), in which a parade of characters dance to their doom with scythe-wielding Death leading the way.

Ernst Ingmar Bergman was born July 14, 1918, in Uppsala, Sweden, and raised in Stockholm, where his father, a Lutheran minister, became chaplain to the Swedish royal family.

His upbringing was filled with harsh punishments administered by his father, from canings to being locked in dark closets. His mother was an unreliable source of comfort, sometimes displaying warmth and at other times, coldness. Bergman later said his mother wanted to leave her husband but stayed for the sake of the children.

The future filmmaker cynically thanked his parents for the unhappy environment in which he was raised, saying they "created a world for me to revolt against."

Going to the movies brought Bergman rare happiness. One Christmas, he traded 100 tin soldiers for the movie projector a wealthy aunt had given his brother.

He also created a puppet theater, which became more elaborate as he needed new ways to entertain a younger sister. He put on small-scale works by Strindberg, whose dramas of tormented relationships between the sexes already appealed to him.

Bergman infuriated his parents by dropping out of the University of Stockholm to work in local theaters. He became an unpaid errand boy at the prestigious Royal Opera House in Stockholm. He maintained ties to the theater throughout his life and was a former director of Sweden's Royal Dramatic Theatre and the Royal Opera.

In 1942, he joined the film company Svensk Filmindustri as a scriptwriter adapting stories. His first original script, "Hets" (1944), about a sadistic teacher who disrupts an affair between two youths, was directed by Alf Sjoberg and received eight "Charlies," the Swedish equivalent of the Oscar, and the grand prize at the Cannes Film Festival.

After writing and directing a series of adolescent dramas and suspense tales of varying quality, Bergman foreshadowed many of his later classics with the bittersweet themes in "Summer Interlude" (1951) and "Summer With Monika" (1953).

The first was about a ballerina who revisits her childhood vacation spot and recalls a fateful teenage summer fling. The second concerned a young woman's sexual awakening and the man who rejoices and then suffers because of her whims.

Bergman received favorable attention in the United States with "Smiles of a Summer Night" (1955), which blended Shakespearean farce with a disquieting sexual undercurrent. Critic Bosley Crowther, writing in the New York Times, called it "delightfully droll," and the film won a Special Jury Prize at Cannes.

"It was an attempt to be witty," Bergman said in the book "Bergman on Bergman." "People were always bawling me out for being such a gloomy guy."

That film's plot was adopted by Stephen Sondheim and Hugh Wheeler for their musical "A Little Night Music" and Woody Allen for "A Midsummer Night's Sex Comedy."

Bergman showed some other lighter touches when he filmed Mozart's opera "The Magic Flute" (1975) as well as "The Devil's Eye" (1960), about Don Juan's ascent from hell to seduce a minister's virginal daughter. According to the film, its title came from a Swedish proverb, "A faithful woman is a sty in the Devil's eye."

One of his best-known films of the period, "The Seventh Seal," was a forewarning of nuclear devastation even though it was set in the 14th century.

Von Sydow played a knight who returns from the Crusades to his plague-infested homeland and finds Death waiting for him. While buying time by playing chess with Death, the knight leads an anguished search for meaning. He crosses paths with a society of fools and self-flagellating fanatics and finds Death the game's victor.

"Wild Strawberries" (1957) was Bergman's next major project, and years after its release, film critic Leonard Maltin wrote that it remained a "staple of any serious filmgoer's education."

The main character was an old, emotionally distant professor, played by the silent-era film director Victor Sjostrom. He picks up a series of passengers during his car trip to collect an award, and they prompt him to reflect on his life and realize, too late, his human flaws.

Between films, he retreated to his home on the rain-swept, stony seascape on Faro Island and spoke of his need to live a remote existence, among the sound of waves and a ticking grandfather clock.

He called the island an ideal place to confront his daily fears about death. "The demons don't like fresh air," he said in a Swedish television documentary last year, "Bergman Island." "What they like best is if you stay in bed with cold feet."

He frequently threatened to retire, though he continued to work until recent years on scripts for movies, including Ullmann's "Faithless" (2000). His final work as writer and director was "Saraband" (2003), a made-for-television sequel to "Scenes From a Marriage" that received a U.S. theatrical release.

On his admitted disregard for parenting, he told the documentarians in "Bergman Island": "I had a bad conscience until I discovered that having a bad conscience about something so gravely serious as leaving your children is an affectation, a way of achieving a little suffering that can't for a moment be equal to the suffering you've caused. I haven't put an ounce of effort into my families. I never have."
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
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"Superman can't be emo. He can't cut himself."-CP
PostTue Jul 31, 2007 1:05 am
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Nobuyuki

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Tom Snyder, the idiosyncratic, cigarette-waving interviewer who was one of the pioneers of the late-night television talk show and a long-time anchor for both local and national news, died Sunday in San Francisco. He was 71.

The cause was complications of leukemia, his friend and producer Michael Horowicz said yesterday.

Known best for “Tomorrow,” the late-night interview program on NBC of which he was host for eight years in the 1970s and 1980s, Mr. Snyder’s career spanned four decades and included jobs in New York and Los Angeles, with stops in Savannah, Cleveland and Philadelphia.

“Tomorrow” was a showcase for Mr. Snyder’s interviewing style. Leaning forward in his chair, punctuating questions with his ever-present cigarette, cajoling or berating his subject, or simply expostulating on his own, Mr. Snyder made conversation a kind of performance art.

“He made the camera disappear,” said Peter Lassally, who produced Mr. Snyder on “The Late Late Show” on CBS in the 1990s. “He was talking directly to the viewer.”

At the peak of his career, he was a glutton for work (and air time), appearing four nights a week on “Tomorrow” on NBC after having been anchor for “NewsCenter4” on WNBC in New York in the evening. Sunday nights he was the anchor of NBC’s national newscast.

Though his work as a news anchor originally brought him recognition — he was for a time considered among the favorites to become the anchor of NBC News, succeeding John Chancellor — Mr. Snyder became nationally famous during his time on “Tomorrow,” a show NBC began in 1973 to follow “The Tonight Show with Johnny Carson.”

Mr. Snyder’s success in keeping viewers up into the wee hours opened the door for hosts like David Letterman and Conan O’Brien.

The show’s guest list included names like Spiro Agnew, Jimmy Hoffa, the Watergate prosecutor Leon Jaworski, Marlon Brando, the author Ayn Rand and Alfred Hitchcock. Mr. Snyder held the last television interview with John Lennon and jousted with Johnny Rotten of the Sex Pistols. He interviewed at least two assassins from prison, Charles Manson and James Earl Ray.

The program did not burst into national consciousness until Dan Aykroyd of “Saturday Night Live” began performing a dead-on impersonation of Mr. Snyder, complete with cigarette, bushy sideburns and deep-throated guffaw. The caricature almost overtook the original.

Lorne Michaels, the producer of “Saturday Night Live,” said yesterday: “The character took on another life. And he loved us doing it.”

Mr. Snyder was married once, to Mary Ann Bendel; they divorced in 1975. They had a daughter, Anne Marie, who survives him, along with his companion, Pamela Burke.

Tom Snyder was born in Milwaukee on May 12, 1936. He attended Marquette University, dropping out to take a job at a television station in Savannah. He made his way to KTLA in Los Angeles but lost that job and was broke. A call from Al Primo, the inventor of the Eyewitness News format, changed his life. Mr. Primo wanted him as anchor of the news at KYW-TV in Philadelphia.

Mr. Primo also installed Mr. Snyder as a morning talk show host. “He was just magnificent at that,” Mr. Primo said yesterday. Los Angeles noticed and he was soon at KNBC, where he started an interview show and also worked as a news anchor.

Mr. Snyder continued his news work even after “Tomorrow” began. He and the show shifted to New York a year later. Mr. Snyder seemed destined for much bigger things. But he complained often, and publicly, about NBC executives. “Tom’s biggest problem was getting along with management,” Mr. Lassally said.

NBC replaced him in the late-night slot with Mr. Letterman. Mr. Snyder came back as anchor of a newscast for WABC in New York but the ratings did not jump. The cable channel CNBC brought him back in a late-night slot in the early 1990s. Mr. Letterman loved that show and invited Mr. Snyder to become host of the show after his own on CBS. Mr. Snyder had a new four-year run in late night beginning in 1995.

Along with the fame and a big salary — about $420,000 a year for “Tomorrow,” among the highest at the time — Mr. Snyder attracted a phalanx of critics who lambasted him as abrasive and pompous, and for inserting himself into the interviews.

He pleaded guilty in The Times in 1977. “Well, I’m supposed to do that,” Mr. Snyder said. “I’m not just there as piece of wood, for people to talk to. I’m a human being, I have opinions and biases and beliefs, and standards and I have to inject them into that program. Otherwise we might as well have an empty chair and give the guest a list of written questions.”
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP
PostTue Jul 31, 2007 1:13 am
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Nobuyuki

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In Bill Walsh's final days, the football universe went to him. Joe Montana, Al Davis, Ronnie Lott, John Madden ... they all went to visit Walsh, the brilliant coach who launched the 49ers dynasty and forever transformed the football landscape.

Perhaps the most influential strategist in NFL history died at his Woodside home Monday morning after a three-year battle with leukemia. He was 75.

"He was the most important person in football over the last 25 years, and I don't think there's any debate about that," former 49ers quarterback Steve Young said.

Walsh popularized and perfected the "West Coast offense" that paved the way for five Super Bowl victories for the 49ers. His innovations provided an oft-copied blueprint for coaches at every level and propelled players such as Montana and Jerry Rice toward the Hall of Fame.

"Outside of my dad, he was probably the most influential person in my life," Montana said.

Walsh went 102-63-1 in 10 seasons with the 49ers and led the team to Super Bowl victories in the 1981, 1984 and 1988 seasons. He also left behind the framework for the '89 and '94 title teams. Walsh was a mentor for dozens of men who went on to be NFL coaches and later served as a major force in shaping the athletic departments of San Jose State and Stanford.

Walsh, hired by desperate 49ers owner Eddie DeBartolo Jr. in 1979 and charged with turning around a moribund franchise, promptly laid the groundwork for one of the most successful stretches in sports history. His teams won six NFC West titles and set a standard in which anything less than a Super Bowl was a crushing disappointment.

"The secret was not only the fact that the team was victorious, but also the way it went about winning and handling the wins," said Carmen Policy, the 49ers president during Walsh's glory years. "The team became a virtual bridge that linked the entire Bay Area into one community and all of the components of that community into one citizenry."

"This was a loss of such a great man who meant so much to so many people, and I was one of them," said Jeff Garcia, another of Walsh's quarterback proteges. Garcia, who learned of the news while at camp with the Tampa Bay Buccaneers, described it as "a sad, sickening feeling."

Walsh, who looked like a professor, frequently was portrayed as an egghead. As the late Jim Murray, the legendary Times columnist, once wrote, "You half expect his headset is playing Mozart."

There was an element of truth to the depiction, as Walsh's wizardry at the chalkboard earned him the nickname "The Genius." But the coach bristled at the stereotype; he was no wimpy intellectual. Walsh fought as a heavyweight in college, later used boxing psychology in his tactics and wasn't afraid to berate a burly lineman for a mistake.

Walsh proved to be tough in his personal life as well by caring for his ailing wife and dealing with the death of his son. Walsh even overpowered the effects of leukemia longer than expected and remained active in his final months.

Walsh was accustomed to a hectic schedule. He retired from coaching the 49ers in 1989 but still managed to reshape Bay Area football over the next 18 years.

He was the 49ers' general manager. He served Stanford in several capacities, including head coach and interim athletic director and helped save the football program at San Jose State, his alma mater, by advising the Spartans to hire Athletic Director Tom Bowen and Coach Dick Tomey, who turned the team around in two seasons. Walsh also wrote multiple books, worked as a television analyst, gave clinics and lectures, and taught classes at Stanford.

But Walsh will be remembered most for his accomplishments with the 49ers, starting in January 1982 with an iconic victory over the Dallas Cowboys in the NFC championship game. That contest culminated with the throw from Montana to Dwight Clark in the back of the end zone, a winning touchdown that became known as "The Catch."

"Overcoming Dallas that day was huge, huge for our franchise," Walsh recalled during an interview with the Mercury News this year. "Joe's throw and Dwight's catch continued our momentum to our first Super Bowl. But it was our coaches, players and team as a whole coming together in the crucible of a pressure game that was central to the ascendancy of the 49ers. That was the breakthrough for us."

Walsh's biggest break in his young career was when he was hired by Cincinnati Bengals Coach Paul Brown to oversee quarterbacks and receivers. While in Cincinnati, in the early 1970s, Walsh devised the system that would become known as the West Coast offense and revolutionize the game.

His system was based on short passes that were likely to be completed, not the high-risk, high-reward downfield passes that had been the norm. His innovations helped transform Kenny Anderson, a late-round draft choice from Augustana College, into a star ... one of the "most gratifying experiences of my coaching career," Walsh said.

Walsh turned down several job offers so he could remain in Cincinnati because he was certain he was in line to succeed Brown. When Brown instead handed the job to Bill "Tiger" Johnson, Walsh was shattered. He resigned his post and moved to San Diego, where he served one year as an assistant for Coach Tommy Prothro.

Walsh would go 5-0 in his career against Cincinnati, including victories in two Super Bowls; Johnson went 18-15 before resigning from the Bengals halfway through his third season.
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP
PostTue Jul 31, 2007 1:17 am
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Laszlo Kovacs, the Hungarian-born cinematographer who shot counterculture classics such as "Easy Rider" as well as more mainstream pics including "Ghostbusters" and "Miss Congeniality" died Saturday in his sleep in Beverly Hills. He was 74.
James Chressanthis, who is working on the documentary "Laszlo & Vilmos" about Kovacs and his friend of five decades, fellow d.p. Vilmos Zsigmond, said that although Kovacs, a cancer survivor, had been feeling better lately, he was not able to make a Friday meeting with longtime associate Bob Rafelson. "Their lives intersected with so many great filmmakers," Chressanthis said of the two lensers.

"He was my soulmate, like a brother," said Zsigmond. "We escaped together, we worked together, we helped each other. He was a great cinematographer."

Kovacs was in his last year of school in his native Budapest when a revolt against the Communist regime started on the streets. With classmate Zsigmond, he borrowed a school camera and filmed the conflict. They smuggled the footage into Austria and entered the U.S. as political refugees in 1957. The historic footage was later featured in a CBS docu narrated by Walter Cronkite. "They risked their lives shooting the revolution," Chressanthis said. "They would have been executed if they had been caught."

After working a series of menial jobs on his arrival in America, Kovacs began working in television, moving into features with "The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies."

"Suddenly all the young filmmakers were looking for younger guys with new ideas -- we came from Europe and they liked us. That was the American New Wave," said Zsigmond of the fertile filmmaking period of the late '60s and early 1970s.

During the 1960s, he shot exploitation films ("The Notorious Daughter of Fanny Hill"), period curios ("Mondo Mod") and four Richard Rush low-budgeters--"A Man Called Dagger," "Hell's Angels On Wheels," "Psych-Out" (both with Jack Nicholson) and "The Savage Seven." Kovacs and Rush subsequently worked together on "Getting Straight" and "Freebie and the Bean."

His dazzling location work and independent working methods led him to teamings with other quickly rising and influential young directors. He shot Peter Bogdanovich's first feature, "Targets," Robert Altman's "That Cold Day in the Park," Dennis Hopper's seminal "Easy Rider" and Bob Rafelson's breakthrough "Five Easy Pieces."

When Kovacs shot "Easy Rider, "It was like a revolution in Hollywood. It didn't look like any of the other movies the studios made in those days."

"Neither he or I believed in a specific style -- just very natural lighting, a kind of poetic realism," said Zsigmond.

Through the 1970s, Kovacs continued these associations, for Bogdanovich lensing "Directed by John Ford," "What's Up, Doc?," "Paper Moon," "At Long Last Love," "Nickelodeon" and, later, "Mask." He worked again with Hopper on "The Last Movie" and with Rafelson on "The King of Marvin Gardens."

During the decade he also collaborated with Paul Mazursky on "Alex in Wonderland," with Hal Ashby on "Shampoo," with Martin Scorsese on "New York, New York" and "The Last Waltz," and with Arthur Penn on "Inside Moves." He also contributed additional photography to "Close Encounters of the Third Kind," for which Zsigmond won an Oscar.

Kovacs gradually moved into more mainstream fare on such pictures as "Pocket Money," "Slither," "Huckleberry Finn," "For Pete's Sake," "Harry and Walter Go to New York," "F.I.S.T.," "Paradise Alley," "Butch and Sundance: The Early Days," "The Legend of the Lone Ranger," "Frances," "Ghostbusters," "Legal Eagles," "Say Anything," "Shattered," "Radio Flyer," "Multiplicity," "My Best Friend's Wedding," "Little Nikita," "Jack Frost" and "Miss Congeniality." His last feature was "Two Weeks Notice" in 2002.

He received the American Society of Cinematographers Lifetime Achievement Award in 2002 and led the ASC's education committee.
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP
PostTue Jul 31, 2007 3:11 am
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Art Davis, the renowned double bassist who played with John Coltrane and other jazz greats, has died. He was 73.

Davis died of a heart attack Sunday at his home in Long Beach, his son Kimaili Davis told the Los Angeles Times for a story in Saturday's editions.

Davis was blacklisted in the 1970s for speaking up about racism in the music industry, then later earned a doctorate in clinical psychology and balanced performance dates with appointments to see patients.

"He was adventurous with his approach to playing music," said pianist Nate Morgan, who played with the elder Davis intermittently over the last 10 years. "It takes a certain amount of integrity to step outside the box and say, 'I like it here and I'm going to hang here for a while.'"

Known for his stunning and complete mastery of the instrument, Davis was able to jump between genres. He played classical music with the New York Philharmonic, was a member of the NBC, Westinghouse and CBS orchestras, and played for Broadway shows.

The most enriching experience of his career was collaborating with John Coltrane. Described by jazz critic Nat Hentoff as Coltrane's favorite bassist, Davis performed on the saxophonist's albums including "Ascension," Volumes 1 and 2 of "The Africa/Brass Sessions" and "Ole Coltrane."

The two musicians met one night in the late 1950s at Small's Paradise, a jazz club in Harlem.

Davis viewed his instrument as "the backbone of the band," one that should "inspire the group by proposing harmonic information with a certain sound quality and rhythmic impulses," Davis said in an excerpt from So What magazine posted on his Web site.

By following his own advice, Davis' career flourished. He played with a long and varied list of artists: Thelonious Monk, Duke Ellington, Rahsaan Roland Kirk, Louis Armstrong, Judy Garland, John Denver, the trio Peter, Paul and Mary and Bob Dylan.

Davis began studying piano at age 5 in Harrisburg, Pa., where he was born in 1933. By sixth grade Davis studied the tuba in school because it was the only instrument available, he said.

By 1951 he decided to make music his career. He chose the double bass, believing it would allow more opportunities to make a living. At age 17 he studied with the principal double bassist at the Philadelphia Orchestra. But when he auditioned for his hometown's symphony, the audition committee was so unduly harsh and demanding that the conductor Edwin MacArthur questioned their objectivity.

"The answer was, 'Well, he's colored,' and there was silence," Davis recalled in a 2002 article in Double Bassist magazine. "Finally MacArthur burst out, 'If you don't want him, then you don't want me.' So they quickly got together and accepted me."

After high school, Davis studied classical music on scholarship at the Manhattan School of Music and the Juilliard School of Music. At night he played jazz in New York clubs.

In the 1970s, his fortunes waned after he filed an unsuccessful discrimination lawsuit against the New York Philharmonic. Like other black musicians who challenged job hiring practices, he lost work and industry connections.

With less work coming his way, Davis returned to school and in 1981 earned a doctorate in clinical psychology from New York University. For many years he was a practicing psychologist while also working as a musician.

As a result of his lawsuit and protest, Davis played a key role in the increased use of the so-called blind audition, in which musicians are heard but not seen by those evaluating them, Hentoff said.

The accomplished musician also pioneered a fingering technique for the bass and wrote "The Arthur Davis System for Double Bass."

Davis also wore the hat of university professor. He taught at UC Irvine for two years. Most recently Davis was a part-time music instructor at Orange Coast College in Costa Mesa.
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP
PostSat Aug 04, 2007 5:04 pm
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Lois Maxwell, who starred as Miss Moneypenny in 14 James Bond movies, has died, the British Broadcasting Corp. reported Sunday. She was 80.

The Canadian-born actress starred alongside Sean Connery in the first James Bond movie, "Dr. No," in 1962 as the secretary to M, the head of the secret service.

She died Saturday night at Fremantle Hospital near her home in Perth, Australia, the BBC cited a hospital official as saying. Bond star Roger Moore said she was suffering from cancer.

"It's rather a shock," Moore, who had known her since they were students at the Royal Academy of Dramatic Art in 1944, told BBC radio.

"She was always fun and she was wonderful to be with," he said.

Born Lois Hooker in Ontario, Canada, in 1927, she began her acting on radio before moving to Britain with the Entertainment Corps of the Canadian army at the age of 15, the BBC said.

In the late 1940s, she moved to Hollywood and won a Golden Globe for her part in the Shirley Temple comedy "That Hagen Girl."

After working in Italy, she returned to Britain in the mid-1950s.

In addition to her 14 appearances as Miss Moneypenny, she also acted in Stanley Kubrick's "Lolita" and worked on TV shows including "The Saint," ''The Baron, Randall and Hopkirk (Deceased)," and "The Persuaders!," the BBC said. She was 58 when she appeared in her final Bond film, 1985's "A View To A Kill." She was replaced by 26-year-old Caroline Bliss for "The Living Daylights."

Her last film was a 2001 thriller called "The Fourth Angel," alongside Jeremy Irons.
_________________
"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
Wink
"Superman can't be emo. He can't cut himself."-CP
PostSun Sep 30, 2007 6:30 pm
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