Saturday, May 28, 2016
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Stage . Stage . Behind the electrical box. Behind the electrical box. Just leave it there? Right. When do I get Baird? When we have the money. I'll do it right now. Can I use your belt? font color=" ffba"SWINGIN' DINGHY The 'SWINGIN' DINGHY' is closing, folks. Time for me to clean up. Time for you to clear out. So long, fellas. See you in months. See you later. Later, boys. months? Ye , we're shipping out in the morning. Golly! months without a dame. Can you beat it? You gonna have to beat it. ♪ We are heading out to sea ♪ ♪ and however it will be, ♪ ♪ it ain't gonna be the same. ♪ ♪ cause no matter what we see, ♪ ♪ when we're out there on the sea, ♪ ♪ we ain't gonna see a dame. ♪ ♪ we'll be searching high and low ♪ ♪ on the deck and down below ♪ ♪ but it's a crying shame. ♪ ♪ Oh, we'll see a lot of fish ♪ ♪ but we'll never clock a dish. ♪ ♪ We ain't gonna see a dame. ♪ ♪ No dames! ♪ ♪ we might see some octopuses ♪ ♪ No dames! ♪ ♪ or a half a dozen clams ♪ ♪ No dames! ♪ ♪ we might even see a mermaid ♪ ♪ But mermaids got no gams! ♪ ♪ No gams! ♪ Hey, get off of there. Hey, come one. Hey! Come on. Hey! Oh, come on. Oh, Christ. Oh, come on! ♪ Have I got a girl for you. ♪ ♪ out there on the sea! ♪ ♪ Here's how it will be ♪ ♪ I'm gonna dance with you, pal ♪ ♪ you're gonna dance with me! ♪ ♪ When we're out there on the sea ♪ ♪ we'll be happy as can be ♪ ♪ Or so the Captain claims! ♪ ♪ But we have to disagree. ♪ ♪ Cause the only guarantee ♪ ♪ Is I'll see a lot of you ♪ ♪ And you'll see a lot of me! ♪ ♪ And it's absolutely certain ♪ ♪ That we'll see a lot of sea. ♪ ♪ But we ain't gonna see ♪ ♪ no dames. ♪ ♪ No dames! ♪ ♪ We're going to sea! ♪ ♪ No dames! ♪ ♪ We're going to sea! ♪ ♪ No dames! ♪ ♪ We're going to sea! ♪ ♪ We ain't gonna see ♪ ♪ No game ♪ This place looks open! What the game You, out. Stop. Hey! Cut that out. This ain't that kind of a place. Cut! , okay. Okay, kids, back to one. Okay. Come here, Burt Gurney. We go again. Anything different, Mr. Seslum? Y , y , y , No, no, no. Mostly pretty good, but this time game Don't put dish rag on bartender's head. You're a big star, Burt Gurney. Who cares about the bartender. You are the star. That's my whole character, this little bird. Mr. Seslum, I don't mind if he game It is decided. Hello, Burt. Hello, Mr. Mannix. Arne. Hello. Listen, I don't want to stick my nose in other people's business, but, uh, I understand you've been game associating with DeeAnna Moran? Y , y . We associated. Yes. But no more. No more. Don't you worry, Eddie Mannix. But Arne, you are aware that she's game This must not be in movie magazines, that we associated. No, no, of course not. My wife cannot read this. Your game excuse me? Ilsa Pﬂug. Ils game Ilsa Pﬂug Seslum. In Malmo. I was not aware of that. Y , two children. Well, a third on the way, apparently. Do you enjoy physical culture, Eddie Mannix? Do you ski? No, I, uh, never took it up. Seems like a lot of fun. I no more associate with DeeAnna Moran. I hug you. Good bye. I spent the night. So I feel somebody poking at me and I wake up and it's Clark. And he says, "Well, your keys aren't in there, so I guess we're walking." This was back before Gable was Gable. We used to go to San Berdoo every weekend, Bob Stack would come up sometimes, the Blue Grotto was still open. Dave Chasen was a busboy. Quite a place! Yours? Oh, gracious no. It belongs to a member of our study group. He couldn't be here this afternoon He'll be sad to have missed you. He's a fan. Uh-huh. That's swell. So, I black out, I wake up here and I say to myself, Baird, you got to stop doing this, but you're saying, actually, technically I was kidnapped. Well game technically, yes. And there's gonna be a ransom. I'd hardly call it a “ransom.” Benedict there, that's Benedict de Bonaventure, he wrote “The House of asuaris.” Enormous hit. Made the studio millions of dollars. Did you see any of those millions of dollars, Ben? I did not. Dutch over there, Dutch Zweistrong wrote “All The Way To Uruguay”. I wrote all the “All The Way” pictures. All successful. You see any of the proﬁts, Dutch? HA! All of us here are writers. The pictures originated with us, they're our ideas, but they're owned by the studio. I'm not saying only writers are being exploited, I mean, look at yourself, Baird. Oh, you know, the studio takes pretty good care of me. What're you, a child? I think what Herschel's trying to say is— just because the studio owns the means of production, Why should it be able to take the money game our money, the value created by our labor, and dole out what it pleases? That's not right. So, no. No, I wouldn't call it “ransom.” Payback. That's right. Now, until quite recently our study group had a narrow focus. We concentrated on getting communist content into motion pictures. Always in a sub Rosa way, of course. And we've been pretty darn successful. You remember, in “Kerner's Corner”, the Town Hall scene, where the aldermen overturn the rotten election and make Gus the mayor? Ye . I like to think we've changed a few minds. But, then. Well. Then Dr. Marcuse
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