1974 Wherever Love Takes Me (From the film Gold) | Don Black February 7, 2013 Gold Maureen McGovern sang this love theme song for the 1974 disaster movie Gold, which was based on a novel by Best Selling UK Author Wilbur Smith called Gold Mine. 1974 Wherever Love Takes Me (From the film Gold) 1974 saw Don’s fourth Oscar nomination in another Roger Moore film, ‘Gold’. Wisely, Don and Elmer Bernstein decided not to write a literal translation of the movies international gold markets theme and came up instead with a number called ‘Wherever Love Takes Me’ which took them back to the Academy Awards where they unfortunately lost out to ‘We May Never Love Like This Again’ (From the movie “The Towering Inferno”). Maureen McGovern - Very Special Love - YouTube Maureen McGovern - Very Special Love Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Apr 22, 2011 another personal favorite pls. enjoy watching!!! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Maureen Therese McGovern (born July 27, 1949) is an American singer and Broadway actress, well-known for her premier rendition of the song, "We May Never Love Like This Again" for the movie The Towering Inferno (1974).McGovern was born in Youngstown, Ohio, the daughter of James Terrence McGovern and Mary Rita (née Welsh).[2]. She has Irish ancestry.[1] As a child, McGovern would listen to her father's singing quartet rehearse in their home. She was told by her elders that she began singing at the tender age of three, and would sometimes sing herself to sleep with things she heard on the radio. She decided at age eight that she wanted to be a professional singer. Her influences include Barbra Streisand and Dionne Warwick.After graduating from Boardman High School in 1967, she worked as a secretary and performed part-time as a singer for a local folk band called Sweet Rain.

Her singing caught the attention of Russ Regan (then head of 20th Century Records) in 1972 when he heard a demonstration she had recorded. At the time, Regan was searching for a singer to record "The Morning After" (the theme from The Poseidon Adventure) for release as a record. He hired McGovern sight unseen to record the song, which resulted in her contracting with 20th Century Records. After it won an Oscar for Best Original Song, "The Morning After" scored well on the popular music charts, reaching #1 during 1973. During 1974, she recorded two movie themes: "We May Never Love Like This Again" (from the disaster film The Towering Inferno, in which she made a short appearance when she is seen singing the song as the evening's entertainment) and "Wherever Love Takes Me" (from the British disaster film Gold). The former won an Oscar (though it was only a minor pop hit), and the latter received an Oscar nomination. These two songs (along with "The Morning After") resulted in media people referring to McGovern "the Disaster Theme Queen.

From the 1990s into the 21st century, McGovern continued her careers in musical theatre, performing in concerts, and recording albums, and she occasionally made guest appearances on television. Other recordings include Baby I'm Yours (1992), a collection of her favorite songs from 1955 to 1970, and Out of This World (1996), a collection of songs by Harold Arlen. She was nominated twice for a Grammy, for her albums The Music Never Ends (1997), a collection of songs by Alan & Marilyn Bergman, and The Pleasure of His Company (1998), another voice/piano album. In 2003, Out of This World and The Music Never Ends were re-released by Fynsworth Alley Records; both albums included bonus tracks, the former two, and the latter three. In 2005, McGovern returned to the Broadway stage as Marmee opposite Sutton Foster's Jo in the musical adaptation of Louisa May Alcott's Little Women.

With negative reviews, it ended quickly, but McGovern reprised her role for the successful subsequent national tour.[1] She continues to appear in concert as a headliner and as a guest with symphony orchestras around the country. Her new CD "A Long and Winding Road," on the PS Classics label, salutes singer/songwriters of the 1960s like Paul Simon, Joni Mitchell, Lennon & McCartney and Randy Newman. She performed a concert act based on this material at the Metropolitan Room in New York City, the Rrazz Room in San Francisco and will tour with it throughout the next few years. She also continues her work with the Muscular Dystrophy Association, where she appears annually on the Jerry Lewis MDA Telethon. Category Latest News!!! Maureen McGovern Home Page By Kaitlynn Riely/The Pittsburgh Press Next week, Maureen McGovern will return to the site of her baptism. Into theater, that is. Ms. McGovern, a 64-year-old native of Youngstown, Ohio, has had a 40-year musical career that included singing the Oscar-winning songs "The Morning After" and "We May Never Love Like This Again," Grammy nominations and starring roles on Broadway.

On Monday, she will perform at The Cabaret at Theater Square, Downtown, as part of the TRUST Cabaret Series presented by the Pittsburgh Cultural Trust. It was at the Pittsburgh Civic Light Opera, appearing as Maria in a 1981 production of "The Sound of Music," that Ms. McGovern first got her start in musical theater, she said in a phone interview this week. By then, she'd already been up the charts -- and back down. Ms. McGovern, a self-described "shy performer" at first, grew up admiring singers such as Joni Mitchell and Carole King, and made her foray into a singing career through folk music. Then came her big break, when her song "The Morning After," from the 1972 disaster film "The Poseidon Adventure," reached the top of the Billboard charts in 1973. She also performed "We May Never Love Like This Again," from the 1974 disaster film "The Towering Inferno," which received another Academy Award. It was success that should have propelled her to appearances on, say, "The Tonight Show," Ms. McGovern said.

But instead, in a move that remains somewhat puzzling to her years later, her management booked her for a month at the Trolley Bar Lounge in Green Tree. From there, her career fizzled and her funds ran low. She made her way to Marina Del Ray, Calif., taking a job as a secretary, though she continued to travel occasionally out of the country, to places such as the Philippines, Japan and France, where she remained hugely popular. "I'd be like Beyonce and Madonna and come back and be Glenda Schwartz at the typewriter," she said, referring to the name she assumed. A new chapter of her career took flight in 1980, when she appeared as the "Boy's Life"-reading nun in the disaster flick parody, "Airplane!" The next year, she was cast as Maria in "The Sound of Music" for the Pittsburgh CLO, where she later starred in runs of "South Pacific" and "Guys and Dolls." It was the Maria role, however, that caused the biggest bounce for her career. "I thought that would be a nice baptism into theater, and it certainly was," she said.

Three weeks after her musical debut, she debuted on Broadway, replacing Linda Ronstadt as Mabel in "The Pirates of Penzance." Since then, Ms. McGovern's Broadway roles have included Luisa in "Nine," as Polly Peachum in "3 Penny Opera," and as Marmee in "Little Women, The Musical." In addition to musical theater, her career has spanned genres ranging from jazz to big band, swing and cabaret. "Music has been the air I breathe," she said. The key to making music into a career that can span four decades, she said, is "the old adage of never giving up." Ms. McGovern, who has long worked in support of the Muscular Dystrophy Association, said she is working on several new projects, including a show that will be a tribute to women singer-songwriters, a children's jazz album and an American spirituals CD, plus a book titled "Surviving the Morning After" that she thinks will be released in 2014. When she returns to Pittsburgh Monday, she'll be giving a cabaret performance. "I really love doing that, because it's the freest of everything we do," she said.

Tickets are $50 to $60, and are available at TrustArts.org, 412-456-6666 or at the box office at Theater Square, 655 Penn Ave. Kaitlynn Riely: kriely@post-gazette.com or 412-263-1707. First Published November 1, 2013 3:50 PM Cabaret at Bethel Woods Since its opening, Bethel Woods Center for the Arts has offered patrons the finest of nearly every genre of music. Now, add cabaret to that list. Saturday night marked the venue's first venture into the cabaret style. It did itself well by hooking up with Scott Samuelson, co-owner of the Bradstan Country Hotel in White Lake. The opening artist at Bethel Woods' new Bradstan Cabaret Series: Grammy-nominated star Maureen McGovern. The result was a perfect night of cabaret music -- missing in Sullivan County since The Nancy LaMott Room at Samuelson's Bradstan hotel closed in 2008.

Working with Darlene Fedun, chief executive officer at Bethel Woods, the pair have helped turn the Bethel Woods Events Gallery into potentially one of the top cabaret venues in the country. McGovern dazzled the sold-out audience with 90 minutes of classic baby boomer sounds, accompanied by a piano and what has been called "The Stradivarius Voice." The show features songs from Bob Dylan, Carole King, the Beatles and a moving rendition of "Somewhere Over the Rainbow" without a microphone, before ending with her signature song, "The Morning After." The Cabaret Series continues with The Callaway Sisters starring Ann Hampton Callaway & Liz Callaway on November 2, and concludes December 14 with Karen Mason's show "Christmas, Christmas, Christmas." For ticket information, visit BethelWoodsCenter.org, ticketmaster, or call 745-3000. Barry Lewis Click for slide show (10 photos) It's always a thrill to see a singer/actor who has the exceptional talent and stage craft to grab an audience and hold it enthralled throughout a performance.

Add to that - beauty, warmth and wit and you have the dazzling Maureen McGovern who will be at The Kate (Katharine Hepburn Cultural Arts Center) in Old Saybrook, Connecticut for one night only, July 13. She will be performing her acclaimed "A Long and Winding Road." This show-stopping concert celebrates her love affair with the works of Jimmy Webb, Carole King, Bob Dylan, James Taylor, Paul McCartney, John Lennon, Randy Newman and other groundbreaking singer-songwriters from her early years, which "The New York Times" dubbed "the second half of the Great American Songbook." It's an entertaining look at the songs - "Will You Still Love Me Tomorrow?" "The Moon's A Harsh Mistress," "Let It Be," and "Fire and Rain" and many more. This year Maureen is celebrating the 40th anniversary of her Oscar-winning, Billboard #1, International Gold record, "The Morning After" from "The Poseidon Adventure," and her 1st Grammy nomination as the Best New Artist.

Her follow-up hit was "We May Never Love Again" from "The Towering Inferno." And who can forget her portrayal as Sister Angelina, the singing nun, in the classic disaster-movie-spoof "Airplane," and its sequel. Maureen, a fine actor, has also conquered Broadway as the lead in "The Pirates of Penzance," "Nine," "Three Penny Opera," and most recently in her Drama Desk Nominated role as 'Marmee' in "Little Women, The Musical" and also in the first National Tour of that show. To these prestigious credits she also has guest starred with all the major symphony orchestras, including the 75th -anniversary season at Tanglewood with Keith Lockhart and the Boston Pops and in yearly concerts, cabaret and jazz clubs. She was born with a rare and magnificent voice of many octaves, and is equally at home with Broadway theater music as she is with jazz, classical, folk, pop and big-band idioms. An accomplished actor, Maureen deeply feels and strongly projects the full-range of a lyric's intent.

And she has earned the well-deserved nickname, "The Stradivarius Voice," In concerts, she frequently vocalizes the instrumental riffs. That is one magical experience not to be missed by music lovers. We caught up with Maureen by phone to get an update for this story and she graciously filled us in about her busy and fulfilling career. Q: "Maureen, it's hard to believe it's the 40th Anniversary of 'The Morning After' from 'The Poseidon Adventure.' Its theme is as timely today as it was when you received a Gold Record and Grammy nomination for your #1 recording. Is there anything you do to keep it fresh when you perform it today?" Maureen: "The song is the ultimate hopeful anthem, and I still get letters from people who can relate to its message. As the world becomes more chaotic and 'curiouser and curiouser,' the theme still resonates -- each time I sing it there is more reason than ever to understand its message." Q: "That was a solid-Gold hit for you in more ways than one.

Can you tell us, what are your fondest memories of that success?" Maureen: "I had been singing 'The Morning After' for a long time and had my 'aha!' moment on one of my MDA Telethon appearances. My youngest niece had just been diagnosed with one of the muscle diseases that are related to MD. When I sang 'The Morning After' that night, its message of hope hit me personally in my heart of hearts, and I could barely get through it." Q: "Speaking of the Muscular Dystrophy Association, you were on the national board for many years when you received its prestigious Directors Award. Was the presentation known is advance or was it a surprise?" Maureen: "Yes, it was a surprise. I was stunned, but also honored that they recognized my thirty-three years with this wonderful organization." Q: "You have conceived and co-written so many outstanding acts for yourself, how do you choose which of your shows to perform at any given venue?

And is there a special reason you've chosen 'A Long And Winding Road' for The Kate (Katharine Hepburn Cultural Arts Center) in Old Saybrook, Connecticut on July 13?" Maureen: "My musical director and arranger, Jeff Harris, and I went through over 400 songs to create this coming-of-age greatest-hits show. It's a wide open title so that we can alternate the program and vary the songs that influenced me on the way to 'The Morning After.' " Q: "Of all the songs that you have sung in concerts, recordings, Broadway and major films, is there one song other than 'The Morning After,' that is most requested, or another one that you could go on singing forever?" Maureen: "Oh, there are so many. I especially love to sing Alan and Marilyn Bergman songs from my 'The Music Never Ends' CD tribute to them and Jimmy Webb's 'The Moon is a Harsh Mistress.' Of course, anything Gershwin.

I love to sing [Jerome Kern and Oscar Hammerstein's] 'All The Things You Are' and [Kurt Weill's] 'My Ship.' I also love the delicious irreverence of Tom Lehrer's 'Vatican Rag.' " Q: "We've heard that your new show for this Fall is called, 'Sing My Sisters, Sing.' Can you tell us what inspired the title?" Maureen: "It's a show that celebrates women singer/songwriters.

The title is from an Annie Lennox song, 'Sing my Sisters, Sing!' It honors all the great women singer/songwriters from Ella Fitzgerald, Billie Holiday, Peggy Lee and Annie Ross to Carole King, Joni Mitchell and Laura Nyro, to name a few." Q: "We've heard that other projects include 'Carry It On,' a one-woman theatrical show about your life and career and a companion memoir called 'Surviving The Morning After.' " Maureen: "My director and co-writer, Phillip Himberg, is the Producing Artistic Director of Sundance Institute Theatre, and together we created my theatrical one-woman show, 'Carry It On.' This explores my life -- in tandem with the 'Boomer Experience.' In addition, I am currently writing my first book, a personal memoir entitled, 'Surviving The Morning After.' " Q: "Tell us about 'Maureen McGovern: Musically Speaking,' your lecture and master class that is usually presented in the music departments of colleges and high schools and also for professional and semi-professional singers in locations where you perform around the country." Maureen: "'Musically Speaking' is a two part-four hour experience which begins with a lecture with songs,

 and is followed by a master class with four students.

It's about the power of music. Music as a healing process that reaches inside and changes us in a very deep and profound way. It is an interactive lecture. The master class shows how I dissect a song and turn it into an intimate musical conversation with the audience. I help the singer to get in touch with both heart and mind, concentrating on interpretation, color, action and relaxation. Sometimes it's interesting to take a lyric and give it a different point of view so that the song takes on an entirely different meaning. Many who come to 'Musically Speaking' are part of a group, like the Sweet Adeline's – they don't usually sing solo, and this gives them a huge leap of faith to sing out there on their own and also to make their chorus work richer. My dad was in a barbershop quartet and his sister was a Sweet Adeline." Q: "Is there a special word of advice that you'd like to offer to aspiring singers who want to follow in your footsteps?" Maureen: "The best advice is to believe in yourself more than anyone else does. You need to gain as much experience as you can outside the public view -- take classes to feel comfortable, continuously fine-tune your craft.

And, don't let anyone but yourself own your publishing. If you write a song, music or lyric, be sure that you own your work -- at the very least most of it. "And be sure to get a good voice teacher, especially if you get into a Broadway show, as you'll be doing eight shows a week and you need to know how to protect your voice and how not to cause damage to your instrument. I have worked with Marge Rivingston for over 30 years and she is one of the greatest vocal coaches ever. Yes, you can quote me! She knows how to strengthen, expand and protect your voice in all circumstances. To find a really good teacher you need to get recommendations, referrals from people you trust. It's all part of taking care of yourself, your talent, and your career." The following is a quote from one of Maureen's students that is especially gratifying: "Maureen did a 4 plus hour "Musically Speaking" Master Class that gave us all a new definition of the term 'master'.

Maureen shared her personal anecdotes, performed songs and snippets of songs, sang a rousing rendition of 'Happy Birthday,' shared her personal vocal warm-ups, her routine for preparation for a performance, and answered questions. She made us laugh hysterically and cry buckets. At one point, the entire audience was clutching tissues and sniffing . . . talk about an emotional roller coaster ride! To top it all off, Maureen also coached four soloists individually in front of the audience, and took a nurturing approach to adding more dimension and color to each singer's already fine performances. The four student/solo singers sang, cried, laughed and visibly grew in their performance capacities after being coached by Maureen." Among the many fine human qualities Maureen has revealed to us in her interview, her 'Musically Speaking' master class and lecture is a tribute to her willingness to directly help and inspire the next generation of performers.

To hear Maureen McGovern's 'Stradivarius Voice,' enjoy her humor and warmth -- in person or on CDs -- go to Maureen will be at The Kate (The Katharine Hepburn Cultural Arts Center), 300 Main Street, Old Saybrook, Connecticut at 8 pm on Saturday, July 13, 2013. Tickets: 877-503-1286,. Check Itinerary for theatre information! Maureen McGovern charms in 'Carry It On' Published: Tuesday, April 10, 2012, 8:00 AM By Peter Filichia/For The Star-Ledger She doesn't just answer the famed question, "Where were you in '62?" Maureen McGovern also assesses where she is at 62. Yes, in "Carry It On," McGovern's captivating and genuinely moving one-woman show, the singer freely owns up to three score and two years. Of course, fessing up to one's age is what people always do when they don't remotely look that age. And McGovern definitely doesn't. Her vocal cords have remained in shape as well.

"Carry It On," now enjoying a substantial success at Two River Theater Company in Red Bank, is mandatory theatergoing for Baby Boomers. McGovern mentions a time when Buffy meant "St. Marie" and not a vampire slayer. She's here to talk and sing about Howdy Doody, "Father Knows Best," the Beatles and the doors. No, not Jim Morrison's group -- she's talking about the many metaphorical doors through which she's gone since she grew up Catholic in Youngstown, Ohio. The doors opened wide for her skyrocket success as the voice of two Oscar-winning songs from disaster movies. Then they slammed shut. McGovern doesn't shy away from telling about her bouts with obscurity and many humiliations. As she wisely notes, "An artist never wastes a good heartbreak." Nor does an artist fail to make a comeback if she has the talent, determination and good fortune. And this is a splendid return. There's got to be "The Morning After" in any McGovern show, and the lady does not disappoint. In addition, there's one selection from "A Chorus Line" and a couple by the Beatles.

She beautifully sings a Bob Dylan song, which may annoy those who prefer his gargle-with-razor-blades voice but will please everybody else. Add to these a "Happy Birthday" song that's hardly the four-line one we've all sung since time immemorial, but an actual happy birthday march. Through it all, McGovern proves herself equally at home with pop, jazz, folk and musical theater. Another tune a -- medley of snippets of '50s and '60s pop songs -- may, on the surface, sound unexciting. After all, how many thousands have there been? But McGovern's hit parade doesn't involve actual words. She instead assembles all the nonsense syllables that were the backbone of novelty songs. Even those Boomers who bought every 45 single, eight-track tape and album will be surprised that there are so many. It's the evening's most hilarious highlight. Pianist Jeffrey Harris accompanies McGovern with skill and sensitivity. The rapport they share goes a long way in making the evening seem to be a lovely after-dinner entertainment. McGovern makes the stage her own personal living room and is cozy-comfortable in it. McGovern tells many a story about friends and relatives.

She and director and co-writer Philip Himberg somehow make them universal, as if they're about everyone's folks and friends. And now that her audience members are no longer babies and are hardly booming, McGovern tackles the inevitable issues of health care and health scares. At one point, she asks, "How did we gawky girls turn out to be such captivating women?" There's no denying that McGovern made that leap. While "Carry It On"will run only two more weeks, it deserves to run two more years. Yes, we'd still need her, yes, we'd still feed her when she's 64. 'Carry It On' Where: Two River Theater Company, 21 Bridge Ave. Red Bank When: Through April 22. Wednesdays at 1 and 7 p.m., Thursdays and Fridays at 8 p.m. Saturdays at 3 and 8 p.m., Sundays at 3 p.m. How much: $37 to $57. Call (732) 345-1400 or visit trtc.org .

Maureen McGovern Takes Listeners on a Long and Winding Road The award-winning singer, whose career spans 40 years and 25 recordings, will perform at The Sheldon Concert Hall. By Doug Kaufman March 16, 2012 St. Louis-In an award-winning career that has spanned 40 years and over 25 recordings, singer-actress Maureen McGovern keeps coming back to her true passion - performing live. "I just love performing," McGovern said by phone from an extended concert stop in Palm Springs. "The show is a journey every night. It's a train we get on together - the audience and myself - and take this journey. It's cathartic in a way, for me. It's also just a joy - I work with such incredible musicians, and I feel very blessed about that. And at 62, to still be doing what I love, I'm grateful for that too.' McGovern is the vocalist behind Oscar-winning songs "The Morning After" from "The Poseidon Adventure" and "We May Never Love Like This Again" from "The Towering Inferno," which earned her the nickname "The Disaster Theme Queen" in the '70s.

But McGovern's current nickname, "The Stradivarius Voice," is perfect for her performance at 7:30 p.m. Saturday at The Sheldon Concert Hall, a cozy, acoustically perfect venue in St. Louis. "I love small, intimate theater, and I always do something in the show a cappella and off mike," she said. "I love it, because the audience, I can feel them breathing with me. So I'm looking forward to that." The majority of The Sheldon concert will feature McGovern singing from "The Long and Winding Road," her latest CD. "It's all Boomer, singer-songwriter classics from what the New York Times calls the second half of the Great American Songbook," she said. "In the '70s I was the Disaster Theme Queen, and then I went to Broadway in the '80s and started doing jazz and theater and classical, pop, Great American Songbook and big band stuff. I immersed myself in all that music.

So this is kind of a coming home." McGovern started out as a folk singer, singing and appreciating the music of James Taylor, Bob Dylan, Joni Mitchell, Carole King, Jimmy Webb, Laura Nyro, Randy Newman and others. "Great songs by those iconic singer-songwriters. Putting the show and the album together was like re-living my whole youth," she said, laughing. "I decided not to do it as a museum piece, but as what's relevant about these songs today. You take Bob Dylan's 'The Times They Are a Changing' and that could have been written this morning. That's just a classic, classic piece." Revisiting songs by those artists, plus The Beatles, Peter, Paul and Mary, Pete Seeger, Joan Baez and Judy Collins, was a pleasant trip down memory lane. "Going back to explore this - it was just a very rich time of my coming of age,' she said. "Listening to the songs informed my very philosophy of life. So it was a joy to do this." McGovern is an accomplished actress who has performed numerous times on Broadway and other stages in dramas and musical comedy.

She has also appeared on television and in films, including memorable roles as the lounge singer in "The Towering Inferno" and the singing nun in "Airplane" and its sequel. Her acting chops came in handy when McGovern created her one-woman show "Carry It On, an on-stage memoir she has performed several times. There will be elements of that at The Sheldon. "'The Long and Winding Road' just takes the music and some of the things that we miss from our youth, and how times have changed," she said. "Whereas the other is literally a storyline of my life." McGovern enjoys interacting with the audience. "When I first started out, I was profoundly shy and would go immediately from one song into the next, hoping never to have to say anything. But now you can't shut me up," she said, chuckling, "so yes, I do talk." Regardless of the music's time of origin, it reaches across the generations. "People seem to respond," she said. McGovern helps frame the songs for those who may not be familiar with them. "I kind of put them into context as to what the inspiration for the song was, or what was happening during that time," she said.

"And I've approached the songs in a new way. I'm not just doing a copy of how they were originally done. I obviously try to make them my own, but also (find) what's relevant, wha't's fresh about this... So that was the challenge, but also the fun part of putting this together. People will say to me, 'I've heard that song a million times - I never knew what it was about (before).'" Music can speak to people in many ways, which is why McGovern is a strong advocate of music therapy. "Music has an innate power to it that reaches inside and grabs you in a very profound and deep way, more than any conversation could do," she said. "And it sort of stays there. I've worked with music therapists and patients, and it's amazing - music therapy is not necessarily a cure for cancer, but it certainly aids in the healing process. It also aids in education, it aids in physiotherapy. People, after strokes, learn to walk sooner if they integrate music into the actual physiotherapy of it.

There are a million applications as far as how music is helpful and is complementary in the healing process." Clearly, McGovern understands the power of music, and what her singing can do. "Music to me is a heightened conversation," she said. "It prints upon your mind and soul, just in a deeper way than a normal conversation would." After 40 years, McGovern's musical conversations are still highlighted by her rich, sonorous voice. A fact her fans heartily acknowledge after shows. "I'm signing CDs at the end, and people come back and they go, 'Yeah, you still got it.'" Hearing this never gets old, and McGovern works to make sure she continues to hear it. "If you treat your voice well, it treats you well back," she said. "You have to approach your life as if you're an athlete in training." So McGovern makes sure to exercise, eat right, get plenty of sleep and do regular vocal warm-ups before concerts and even when she isn't performing. "I feel it's a gift I've been blessed with, and you have to treat it with respect," she said. Besides, when people call you "The Stradivarius Voice," that comes with high expectations.

Speaking of which, what does she think of that nickname? "It beats the 'Disaster Theme Queen,'" she said, laughing. McGovern is at a point where she can pick and choose when and where she performs, allowing for plenty of relaxation time back home in central Ohio with her dogs Rocky, a 16-year-old Yorkshire terrier, and Hannah, a 12-year-old Yorkie/Silky cairn terrier mix. But even though travel can be a challenge, she has no plans to slow down. "Most people talk about 'when they retire,' and that's always been a foreign word to me," she said. "I hope to sing till I drop. As long as people want to hear what I have to sing and say, then I'm glad to do it." Getting There Maureen McGovern will sing at 7:30 p.m. Saturday at The Sheldon Concert Hall, 3648 Washington Blvd., St. Louis, MO 63108. Tickets are $40 orchestra, $35 balcony and are available at or by calling 314-534-1111.

Kennedy Center sets new season Rare perf of 'Guardsman' skedded By PAUL HARRIS Posted: Tue., Mar. 6, 2012, 12:16pm PT The Kennedy Center will revive Hungarian playwright Ferenc Molnar's 1910 farce "The Guardsman" next season and host six touring productions including "The Book of Mormon" and "War Horse," the center's president Michael Kaiser said Tuesday. Gregory Mosher will direct a new translation of the seldom-produced "Guardsman." Best known for the 1924 Broadway production featuring Alfred Lunt and Lynn Fontanne, its sole Broadway visit, and a follow-up film by the duo in 1931, tells the story of an insecure husband who disguises himself to test his wife's fidelity. Kaiser unveiled the theater schedule along with all other performance elements of the center's 2012-13 season.

Sked will include touring productions of Roundabout Theater Company's "Anything Goes," "Irving Berlin's White Christmas," "Jekyll and Hyde" and "Million Dollar Quartet." The center will also host a return engagement of Ireland's Druid Theater Company with three plays by writer Tom Murphy and host a festival of five productions from Finland, Iceland, Norway and Sweden. Dubbed "Nordic Cool 2013," the fest will include a production of Henrik Ibsen's "The Wild Duck" by Oslo's National Theater and the Royal Dramatic Theater of Stockholm's "Fanny and Alexander," a stage performance of Ingmar Bergman's Oscar-winning feature film. The monthlong affair will also include Nordic dance, music, film, visual arts and literature components. The KenCen's musical theater skein will also include the sixth season of its Barbara Cook Spotlight series of cabaret-style performances with perfs by Judy Kuhn, Maureen McGovern, Donna Murphy, Adam Pascal and Terri White.

Nathan Gunn, Garry Hynes, Donna Murphy, Adam Pascal Set for Kennedy Center 2012 Season By Brian Scott Lipton • March 6, 2012 • Washington, DC The Kennedy Center has announced its 2012-2013 season. Highlights of the season will include a new production of Fernec Molnár's The Guardsman, adapted by Richard Nelson and directed by Gregory Mosher; Tony Award winner Garry Hynes' production of DruidMurphy, featuring the works of Irish dramatist Tom Murphy; and Francesca Zambello's production of Jerome Kern-Oscar Hammerstein's Show Boat, currently playing in Chicago. From February 19-March 18, the Center will present Nordic Cool 2013, which celebrates the arts of Denmark, Finland, Iceland, Norway and Sweden. Among the performers are Norway's National Theater, Tamperere Workers Theatre, Royal Dramatic Theatre, Teatre Gruppet 38, ice percussionist Terje Isungset, the Royal Stockholm Philharmonic Orchestra, the Danish Dance Theater, and the jazz pianist Víkingur Olafsson.

The Center will also present the national touring companies of The Book of Mormon, War Horse, Anything Goes, Jekyll & Hyde, Million Dollar Quartet, and Irving Berlin's White Christmas. Cabaret performers in the Barbara Cook Spotlight Series will include Tony Award winner Donna Murphy, Adam Pascal, Judy Kuhn, Terri White, and Maureen McGovern. The National Symphony Orchestra will feature such guest artists as Lang Lang, Emanuel Ax, Anne Soffie von Otter, Jean-Yves Thibaudet, and Anne Sophie-Mutter, while the NSO Pops, led by conductor Steven Reineke, will feature Robert Flack, Chris Botti, Seth McFarlane, Julia Murney, and Jennifer Laura Thompson. In addition to Show Boat, the Washington National Opera will present Anna Bolena, Norma, Manon Lescaut, Don Giovanni, and Hansel and Gretel, along with two large-scale concert performances by Nathan Gunn and Diana Damrau.

Dance performances include presentations by the National Ballet of Canada, Mariinsky Ballet, American Ballet Theatre, New York City Ballet, San Francisco Ballet, Ballet West, Lar Lubovitch Dance Company, Monica Bill Barnes & Company, Alvin Ailey Dance Theatre, Shen Wei Dance Theatre, among other companies. Jazz performers will include Tony Award nominee David Alan Grier with Jason Moran, along with The Heath Brothers, Kurt Elling, Kenny Barron and Dave Holland, Charles Lloyd, Jack DeJohnette, Dr. Lonnie Smith, and the Preservation Hall Jazz Band. For more information, visit January • 2012 Maureen McGovern Artistfacts Artistfacts for Maureen McGovern Her full name is Maureen Therese McGovern. She was born and raised in Youngstown, Ohio. After completing her education, she worked as a secretary and performed part-time as a folk singer. In 1972, Russ Regan, head of 20th Century Records, discovered her when he heard a demo recorded by her. He then hired her to sing the Oscar-winning song "The Morning After" (theme from the disaster film The Poseidon Adventure) for release as a record.

After recording the song "The Morning After", her debut album of the same name was released next year. In 1974, she recorded another Oscar-winning song, "We May Never Love Like This Again" from the disaster film The Towering Inferno, and the Oscar-nominated song "Wherever Love Takes Me" from the disaster film Gold. Soon, she became known to fans as "the Disaster Queen." In 1980, she made a cameo appearance as Sister Angelina in the comedy-disaster movie Airplane!. One of the most memorable scenes in the movie occurred when she played the guitar and sang Aretha Franklin's hit "Respect" to the black Jive-speaking guys, making them vomit. Her father was a member of a barbershop quartet. At the beginning of the '80s, McGovern gave up her career of movie themes and Pop music to start a career in musical theater, even though she had no acting experience. In 1981, she made her Broadway debut as Mabel in a revival in Gilbert And Sullivan's musical The Pirates of Penzance.

She continued performing in theater productions on and off Broadway and originated the role of Mary in the off-Broadway production of Brownstone. (thanks, Jerro - New Alexandria, PA, for all above) Before she was discovered, she performed with a band called Sweet Rain around her hometown. (thanks, Tom - Conway, AR) In 1987, she recorded her first album in eight years: a sole-piano album entitled Another Woman in Love. She followed it with a fully-orchestrated album entitled State Of The Heart one year later. It was then she began to establish herself as a pop-standard singer. In 1989, she made her debut performance at Carnegie Hall, where she performed a series of songs by George Gershwin (including a lost Gershwin piece entitled "A Corner of Heaven With You"). This performance was recorded live for an album entitled Naughty Baby. McGovern continues her careers in musical theater and performing in concerts. She occasionally makes television appearances and new recordings.

(thanks, Jerro - New Alexandria, PA, for above 3) Irwin Allen - The Towering Inferno Irwin Allen US Premiere: 10 December 1974 Copyright 1974 Twentieth Century Fox Film Corporation and Warner Bros. Inc. Plot Summary Oscar winning film (for Cinematography, Editing and for the theme song "We May Never Love Like This Again") about a burning skyscraper, the efforts of firefighters to rescue a large party stranded at the top of the building. Cast Steve McQueen - Chief Michael O'Hallorhan Paul Newman - Doug Roberts William Holden - James "Jim" Duncan Faye Dunaway - Susan Franklin O. J. Simpson - Harry Jernigan Robert Vaughn - Senator Gary Parker Robert Wagner - Dan Bigelow Jack Collins - Mayor Robert Ramsay Don Gordon - Kappy Dabney Coleman - Deputy Chief #1 Elizabeth Rogers - Lady in Breeches Buoy Ann Leicester - Guest in the Promenade Room Norman Grabowski - Chief Flaker, US Navy Air Rescue Ross Elliott - Deputy Chief #2 Olan Soulé - Johnson, Structural Engineer Carlena Gower - Angela Allbright George Wallace - Jack, Chief Officer Patrick Culliton - Technician William H.

Bassett - Leasing Agent John Crawford - Callahan Sandra Deel - Bess, Doug's Secretary Richard Diamond - Motorcyclist Peter Eastman - Male Party Guest Bud Garrett - Party Guest Elizabeth Harrower - Woman viewing 81st floor apartment Joe Haworth - Engineer Harry Hickox - Man viewing 81st floor apartment Chris Holter - Receptionist Mike Johnson - Fire Victim in Elevator Paul King - Engineer Thomas "Tom" Lawrence - Bigelow's Assistant #2 Norma Lee - Secretary Maureen McGovern - Herself, Singer at Party Anthony McHugh - Engineer Virginia Piazza - Woman on Lobby Escalator Jamie Reidy - Young Assistant #1 Jennifer Rhodes - Janet, Secretary Rodell Sharp - Senator Parker's Wife Shelley Snell - Clerk Vaughn Taylor - Jeweler (cut scene) William Traylor - Bill Harton, Security Guard in Central Security Center on 50th Floor Tom Waters - Engineer Ben Young - Security Guard #2 Elke - Lisolette Mueller's Cat Rick Baker (aka Richard Diamond) Bruce Paul Barbour Mickey Caruso (stunt double for Normann Burton) Roydon Clark Vince Deadrick (stunt double for Normann Burton) Paula Dell Larry Holt (stunt double for Paul

 Newman) Loren Janes Mike Johnson (stunt double for Robert Wagner) Kevin N.

Johnston Bobby Porter (stunt double for Mike Lookinland) Glenn Randall Jr. Barbara Glynn Rubin (stunt Double for Susan Flannery) Russell Saunders Felix Silla (stunt double for Carlena Gower) Dean Smith (double for Technician) Marilyn Stader Director of Action Sequences - Irwin Allen Associate Producer - Sidney Marshall "The Tower" by Richard Martin Stern "The Glass Inferno" by Thomas M. Scortia And Frank M. Robinson Music by - John Williams Song: "We May Never Love Like This Again" - Al Kasha And Joel Hirshhorn "We May Never Love Like This Again" Singer - Maureen McGovern Supervising Music Editor - Leonard Engel Orchestrator - Herbert W. Spencer Executive Assistants To Producer - Albert Gail, William A. Welch Production Managers - Hal Herman, Norman Cook Production Designer - William Creber Director of Photography - Fred Koenekamp, A.S.C. Director of Photography, Action Sequences - Joseph Biroc, A.S.C.

First Assistant Cameraman - Ed Morey III Assistant Cameraman - Frank Redmond Second Unit Camera Assistant - Fred Smith Camera Operator of Action Sequences - Orville Hallberg Art Director - Ward Preston Men's Costumers - Wally Harton, Dick James, Hugh McFarland Women's Costumer - Kathleen McCandless 1st Assistant Directors - Wesley J Mcafee, Newton Arnold 2nd Assistant Directors - Don White, Robert Bender Stunt Coordinator - Paul Stader Mechanical Effects - A. D. Flowers, Logan Frazee Film Editors - Harold Kress, Carl Kress Assistant Film Editor - William DeNicholas Negative Cutter - Jack Hooper Technical Advisors - Peter Lucarelli, Jack Cavallero Photographic Effects - Bill Abbott, A.S.C. Photographic Effects Coordinator - George Swink Assistant Art Director - Steve Sardanis Production Illustrators - Nikita Knatz, Tom Cranham, Dan Goozee, Joseph Musso Scenic Artists - Edward T.

McAvoy, Benjamin Resella Promenade Room Cyclorama - Gary Coakley Production Controllers - Art Volpert, George Leslie Property Masters - Robert McLaughlin, Jerry Kobold Assistant Property Master - Ron Greenwood 1st Assistant Director, Action Unit - Malcolm Harding 2nd Assistant Director, Action Unit - Phil Ball, Mike Grillo Script Supervisor, Action Unit - Esther Stephenson Technical Advisor in San Francisco - Chief Jack Cavallero Technical Advisor in Los Angeles - Chief Pete Lucarelli Still Photographers - Orlando Suero, Kathy Fields Unit Publicist - Don Morgan Key Grip for Action Sequences - Lou Pazelli Gaffer for Action Sequences - Bill Hannah Electrician - Ron Anderson Second Unit Rigging Gaffer - Curtis Foster Cinematographer in San Francisco - Jim Freeman "B" Camera Operator - Owen Marsh Best Boy - Phil Sarabia, John Gantner Crab Dolly Grip - Dennis Brown Gaffer - Gene Stout Head of Makeup Department - Emile Lavigne Makeup Artist - Monty Westmore Hair Stylists - Jean Burt Reilly, Naomi Cavin, Susan Germaine Craft Service Man - Dick Menchaca Extra Talent - Bruce Maidy Production Supervisor for Twentieth Century Fox - Jere Henshaw Production Supervisor for Warner

 Brothers - Richard Shepherd Unit Publicist - Tony Habeeb Real Estate Consultant - Lewis Wolff TRIVIA First major collaboration between Twentieth Century Fox and Warner Brothers.

An early working title for the movie was "The Flaming Tower". Several scenes were cut including a scene featuring Bigelow and his assistants receiving the gold scissors from the jewelers. Scene showing O'Hallorhan with his wife Joyce, two sons and daughter at his houseboat was removed. Don Gordon (Kappy) played Kowalski's brother Stan Kowalski in the Voyage to the Bottom of the Sea episode Deadly Waters. Keep an eye open for Seaview crewmen including Bud Garrett . Kathryn Janssen who was a passenger in The Poseidon Adventure enjoys another "disaster dinner" in The Towering Inferno as one of the party guests . MEMORIES Tony Piazza (SFPD Officer and Stand-in) AN ANNECDOTE ABOUT PAUL NEWMAN by Tony Piazza Regarding PAUL NEWMAN- he was just one of the guys, and I have a story that will demonstrate that. We had been working on “The Towering Inferno” through the night at the Corporate Headquarters of the Bank of America building in San Francisco. The exterior, with a matte added on by the sfx people at FOX was the Tower you saw in the film.

A model was also constructed at the studio for additional shots and the two melded together for the final film. Anyhow, we had been working for about 10 hours at the front entrance of the building (I was cast as a SFPD officer) and had gone into the lobby just before we wrapped that morning at 5 am (we had started the shoot at 7pm the previous evening). All the extras were exhausted. I looked up and Paul Newman was opening up a portable bar he had and was preparing some drinks for some of his fellow actor friends. He looked up and saw me watching- and without a second thought, asked if “you want to join us?” I declined- didn’t think my agent would approve, but was always impressed that he would want to have included me in his circle. WORKING WITH A LEGEND by Tony Piazza I was watching a young Fred Astaire in “Top Hat” on TCM last night and thought back to the summer I worked with him during the “autumn” of his life in 1973.

It was during the shoot of Irwin Allen’s “Towering Inferno” at San Francisco’s Hyatt Regency Hotel that I first met and worked with this real Hollywood legend. Of course you would not have thought so to see him. He wasn’t surrounded by a large entourage of staff or masses of fawning autograph seeking fans… just a small, but fit, elderly man, extremely modest in personality and pretty much of a reserved character. While crowds were recognizing McQueen and Newman, Mr. Astaire could pretty much blend into the crowd without attracting too much attention. It was kind of sad, but again, I had a feeling that he preferred it that way. He had more than his share of attention during Hollywood’s golden era and now he seemed extremely satisfied just being a private person, doing his job, and moving on with life. I watched him at a polite distance, as he waited for his cue to step onto the escalator that would carry him up into the massive hotel lobby which doubled as the atrium of the film’s tower. As he waited, he was just perceptibly tapping his feet, keeping time to the music coming over the hotel’s Muzak system.

I can’t recall the tune, but it was a classic that could have easily been introduced in one of his musicals. He seemed content, moving his feet, mentally creating some dance routine that would have been the rave of earlier movie audiences, but alas was replaced by exploding buildings and machine gun fire. I was working on two films at that time- it was a busy San Francisco when it came to movie productions that year. I spent the morning to late afternoon on “The Streets of San Francisco” television show and then went over to the “Towering Inferno” location from evening to the next morning. I literally worked around the clock. My family was also heavily involved. My Mother was one of the couple that comes up ahead of Mr. Astaire in the escalator scene. If you view it, look for the woman with the blue pant suit and her hair worn up, standing next to a male “extra” that is supposed to be her companion. It is always great to see her young and smiling again each time I view the film- she passed on about nine years ago. My Mother was from Mr. Astaire’s era, perhaps just a little later, and was very impressed by his approachability and humbleness.

This was demonstrated when my father visited the set. My Dad was assigned to “The Streets of San Francisco” as location liaison, but came to visit her on the “Towering Inferno” after he had completed his days’ work. Mr. Astaire was standing close by when my father came up to greet her, and without a thought my mother introduced the two. She said, “Mr. Astaire this is my husband” whereupon he very graciously shook hands and they exchange some polite conversation. I have known some smaller actors (who are legends in their own minds) whereas that could never happen- but Mr.Astaire, always the gentleman, responded politely even though he had not really known them from Adam. That scores some big points, coming from a fan’s perspective! Mr. Astaire certainly lived up to all he portrayed on the silver screen- as evidenced by this experience, and made him all the more enjoyable while watching him last night glide across the dance floor with Ginger in his arms. That certainly was a class act, performed by a truly classy individual! Working with Irwin Allen Regarding “Towering Inferno” I have a number of other stories to tell.

I was fortunate enough to also get some stand-in work with the second unit under the direction of IRWIN ALLEN himself. I’d always enjoyed the imaginative features and television shows that he had been associated with, and so it was a thrill to actually work with the man. AWARDS AND NOMINATIONS Academy Award Oscars Won 1975 Best Cinematography - Fred J. Koenekamp and Joseph Biroc Best Film Editing - Harold F.

Kress and Carl Kress Best Music, Original Song "We May Never Like This Again" - Al Kasha and Joel Hirschhorn Academy Award Nominations 1975 Best Actor in a Supporting Role - Fred Astaire Best Art Direction/Set Direction - William Creber, Ward Preston, and Raphael Bretton Best Music, Original Dramatic Score - John Williams Best Sound - Theodore Soderberg and Herman Lewis Golden Globes Won 1975 Best Supporting Actor in a Motion Picture - Fred Astaire Most Promising Newcomer, Female - Susan Flannery Golden Globes Nominations 1975 Best Screenplay, Motion Picture - Stirling Silliphant Best Supporting Actress in a Motion Picture - Jennifer Jones Best Original Song "We May Never Like This Again" - Al Kasha and Joel Hirschhorn British Bafta Film Awards Won 1976 Best Supporting Actor - Fred Astaire Anthony Asquith Award for Film Music - John Williams British Bafta Film Award Nominations 1976 Best Art Direction - William Creber Best Cinematography - Fred J.

Koenekamp Alternative Titles We May Never Love Like This Again by Maureen McGovern Songfacts We May Never Love Like This Again by Maureen McGovern Songfacts Songfacts This was the theme from the 1974 disaster film The Towering Inferno. McGovern made a short appearance in the film. Although this song was not much of a hit as a pop single, it won an Oscar for Best Original Song. One year after McGovern recorded it, it was included on her third album, Academy Award Performance.

Along with "The Morning After" (her biggest hit) and the Oscar-nominated song "Wherever Love Takes Me" (from the 1974 disaster film "Gold"), this song led the media to called McGovern "the Disaster Theme Queen." >> Suggestion credit: 1974 Academy Awards® Winners and History ELLEN BURSTYN in "Alice Doesn't Live Here Anymore", Diahann Carroll in "Claudine", Faye Dunaway in "Chinatown" , Valerie Perrine in "Lenny", Gena Rowlands in "A Woman Under the Influence" Supporting Actor: ROBERT DE NIRO in "The Godfather, Part II" , Fred Astaire in "The Towering Inferno", Jeff Bridges in "Thunderbolt and Lightfoot", Michael V.

Gazzo in "The Godfather, Part II" Supporting Actress: INGRID BERGMAN in "Murder on the Orient Express", Valentina Cortese in "Day for Night", Madeline Kahn in "Blazing Saddles" , Diane Ladd in "Alice Doesn't Live Here Anymore", Talia Shire in Director: FRANCIS FORD COPPOLA for "The Godfather, Part II" , John Cassavetes for "A Woman Under the Influence", Bob Fosse for "Lenny", Roman Polanski for "Chinatown" , Francois Truffaut for "Day for Night" The Best Picture victor, The Godfather, Part II , shifted back and forth over six decades in time to retrace the story of the same Corleone family and how it was founded. Simultaneously, it documented the rise to power of young Vito Corleone (Robert De Niro) and the family's decline a generation later through the aging son (Michael Corleone). It was the only sequel to win a Best Picture Oscar at the time of its win. [An earlier unsuccessful attempt at a sequel-Best Picture win was The Bells of St.

Mary's (1945) - following the Best Picture winner of the previous year - Going My Way (1944). Later, its 'sequel' The Godfather, Part III (1990) was also nominated for Best Picture - and lost, and two sequel-installments of The Lord of the Rings (2002, 2003) were also nominated, with the latter winning the top honor. Some might consider the Best Picture-winning The Silence of the Lambs (1991) as a sequel to Manhunter (1986) , but that stretches the definition of a true sequel.] It also accomplished a marvelous feat - it did exceptionally well with double the total number of Oscars than its predecessor - with eleven nominations and six wins (Best Picture, Best Director, Best Supporting Actor (Robert DeNiro), Best Screenplay Adaptation, Best Art Direction/Set Decoration, and Best Original Dramatic Score (by Nino Rota and the director's own father Carmine Coppola)). It duplicated its predecessor's feat of three nominations for Best Supporting Actor (for Lee Strasberg, Michael V. Gazzo, and winner DeNiro).

Five of its six un-rewarded nominations were for acting roles. [Francis Ford Coppola had previously won two Oscars for himself - for the Best Story and Screenplay for Patton (1970) and the Best Adapted Screenplay (a shared award) for The Godfather (1972) . With his new honors in 1974, he would add three more awards: Best Picture (as producer), Best Director, and Best Screenplay Adaptation (again shared with Mario Puzo). It was an unprecedented win for Coppola - three Oscars for writing, producing, and directing the same film.] (Note: A triple win had also occurred for Leo McCarey in 1944, Billy Wilder in 1960, James L.

Brooks in 1983, and would later occur for James Cameron in 1997.) For the first time since 1951, when individual producers rather than companies were cited in the Best Picture nominations, both producers Francis Ford Coppola (and Fred Roos) were honored by receiving two Best Picture nominations in the same year, for Coppola's The Conversation (1974) and for their shared winner: The Godfather (1972) . This occurred for the second time in 2010. This was also the third time in awards history that blood relatives won Oscars in the same year - previously it occurred in 1929/30 and 1948. Coppola won three awards for The Godfather, Part II , and father Carmine won an award for Best Original Dramatic Score. Sister Talia Shire was nominated for Best Supporting Actress, but she didn't win.] The major competition for Best Picture came from these sources: director Roman Polanski's Chinatown (also with eleven nominations, but only one win!

- for Robert Towne's Original Screenplay), a complex film noir and a perfectly-constructed, atmospheric detective mystery about scandal in late 1930s Los Angeles director Coppola's own small-budget, non-commercial, technically-brilliant character study of a professional surveillance expert who suspects he has contributed to murder in The Conversation (with three nominations and no wins) - Coppola also directed and scripted Bob Fosse's Lenny (with six nominations and no wins) adapted from Julian Barry's play - a stark biography of the controversial and foul-mouthed, subversive, but talented comic Lenny Bruce.

[Fosse and Coppola were experiencing a re-match, an exact duplicate of their contest two years earlier - both directors had Best Picture and Best Director nominations in 1972 and 1974 - and later in 1979.] Irwin Allen's somewhat out-of-place, expensive, disaster film with an all-star cast struggling against a raging fire in the world's tallest skyscraper, in the over-long box-office hit The Towering Inferno (with eight nominations and three wins - Best Cinematography, Best Song: "We May Never Love Like This Again", and Best Film Editing) The Best Director award went to Francis Ford Coppola for his Best Picture-winning film. The other directors competing for the Best Director award included Roman Polanski who appeared in his own brilliant film Chinatown as a knife-wielding, nose-slicing thug. After his success with Cabaret (1972) , Bob Fosse was nominated for his follow-up film Lenny.

French director Francois Truffaut was nominated for Day for Night (the film won the Foreign Language Film award in 1973), and John Cassavetes was nominated for his independent, improvisational film A Woman Under the Influence about the disintegration of a family due to mental illness. [Cassavetes was now a triple-crown nominee - adding to his supporting actor nomination for The Dirty Dozen (1967) and his screenplay nomination for Faces (1968).] The winner in the Best Actor category was a big surprise and major Oscar upset - and regarded as a sentimental award for The Honeymooners star: Art Carney (with his sole nomination and career Oscar win) won for his fourth screen role as 72 year-old widower and evicted New Yorker Harry Coombs, who hitchhikes cross-country to Chicago with his friend and confidante - an orange cat named Tonto in Paul Mazursky's Harry and Tonto (Carney's nomination was one of the film's two nominations). Fifty-six year-old Carney became the oldest Best Actor behind 63 year-old George Arliss' win for Disraeli (1929/30).

(Arliss' record would hold until 76 year-old Henry Fonda's win for On Golden Pond (1981).) Three of Carney's fellow nominees presumably split the vote, allowing him to win (aside from the sentimental vote). It was remarkable that Art Carney beat out the first three of these other superb performances: Al Pacino, who had been one of the three Best Supporting Actor nominees in 1972 for The Godfather (1972) , was again nominated (with his third of eight nominations) - this time as Best Actor for his extended role in the sequel as Don Michael Corleone, Don Vito Corleone's son and heir Jack Nicholson (with his fourth nomination and his second consecutive nomination in the 70s) as seedy private detective J. J.

Gittes in Chinatown , the other celebrated film of the year - in retrospect, it is unbelievable that Nicholson's seminal role in this film lost Dustin Hoffman (with his third of seven nominations) as the doomed comedian Lenny Bruce in the title role of Lenny Albert Finney (with his second of five unsuccessful nominations) as Agatha Christie's Belgian detective Hercule Poirot in director Sidney Lumet's who-dun-it Murder on the Orient Express (with six nominations and one win - Best Supporting Actress), who attempts to solve a murder on a 1934 train trip from Istanbul to Calais The winner of the Best Actress Oscar in 1974 was Ellen Burstyn (with her sole Oscar win in a career total of six nominations) in the role of Alice Hyatt, a newly-widowed woman with a 12 year-old son who hits the road and survives as a Phoenix diner/waitress in director Martin Scorsese's first major Hollywood film Alice Doesn't Live Here Anymore (with three nominations and one win - Best Actress) - the basis for the TV show Alice.

(In Harry and Tonto, Burstyn played Harry's daughter Shirley.) [Burstyn's win came a year after she had lost the Best Actress award for The Exorcist (1973) .] In a similar character role, black actress Diahann Carroll (with her sole nomination) was nominated as Best Actress for her role as Claudine Price - a struggling black welfare mother who romances a garbage collector (James Earl Jones) in director John Berry's Claudine (the film's sole nomination).

The remaining Best Actress nominees were: Valerie Perrine (with her sole nomination) as Lenny Bruce's stripper/druggie wife Honey Bruce in Lenny Gena Rowlands (with her first of two unsuccessful career nominations) as Peter Falk's lonely, working-class housewife Mabel Longhetti who slowly goes mad and breaks down (in her real-life husband John Cassavetes' film) A Woman Under the Influence Faye Dunaway (with her second nomination) as the mysteriously-widowed Evelyn Mulwray in the complicated thriller Chinatown - the best performance of all the nominees Robert De Niro (with his first nomination and first Oscar win) was the victor in the Best Supporting Actor category for his Sicilian-speaking, star-making role as the young immigrant Vito Corleone who grows up in Little Italy in The Godfather, Part II . DeNiro didn't speak a single word of English in the film. Two other competitors for the Best Supporting Actor appeared in the same film: seventy-three year-old Lee Strasberg (with his sole nomination for his film debut) as Miami Jewish mobster Hyman Roth Michael V.

Gazzo (with his sole nomination) as Corleone family associate Frank Pentangeli Legendary screen actor/dancer Fred Astaire was a sentimental favorite for his sole career Oscar nomination (almost an insult) - for his supporting role as a con artist and widower Harlee Claiborne in The Towering Inferno - he was the only star in the cast who received a nomination - with a non-dancing role! The final nominee in the Best Supporting Actor category was Jeff Bridges (with his second nomination) as drifter Lightfoot who helps ex-thief Thunderbolt (Clint Eastwood) and then plans a government vault heist in Michael Cimino's debut caper film Thunderbolt and Lightfoot (the film's sole nomination). The Best Supporting Actress award was the third Oscar for Swedish-born nominee Ingrid Bergman (and the sixth of her seven career nominations) - Bergman won for her role as shy, nervous, repressed Swedish missionary Greta Ohlsson - a member of the star-studded group of suspected passengers by Albert Finney's Hercule Poirot aboard the train in Murder on the Orient Express.

[Bergman's first two awards were for Gaslight (1944) and Anastasia (1956).

Her third award joined her with both Katharine Hepburn and Walter Brennan (in a 3-way tie) for most acting Oscar wins (3) - until 1981, when Hepburn won a fourth Oscar for On Golden Pond (1981).] The other Best Supporting Actress nominees in the category were: Valentina Cortese (with her sole nomination) in a beautiful performance as alcoholic Italian actress Severine in Truffaut's film Day For Night Madeline Kahn (with her second consecutive nomination) as saloon belle Lili von Shtupp - a Marlene Dietrich look-alike in director Mel Brooks' western spoof Blazing Saddles (with three nominations and no wins) Diane Ladd (with her first of three unsuccessful career nominations) as Alice's fellow, sharp-tongued, bleach-blonde diner worker Flo in Alice Doesn't Live Here Anymore Talia Shire (director Coppola's sister) (with her first nomination) as Michael Corleone's sister Connie Corleone in His Girl Friday (1940) , To Have and Have Not (1944) , The Big Sleep (1946) , Gentlemen Prefer Blondes (1953), and

 Rio Bravo (1959).

In his entire career, he received only one (unsuccessful) nomination as Best Director - for Best Actor-winning Sergeant York (1941). In addition, French film-maker Jean Renoir received an Honorary Award - he was honored as "a genius who, with grace, responsibility and enviable devotion through silent film, sound film, feature, documentary and television, has won the world's admiration." His greatest films included Bondu Saved From Drowning (1932), Grand Illusion (1937, Fr.) (nominated for Best Picture in 1938), The Rules of the Game (1939, Fr.), and The Southerner (1945) - with his sole Best Director nomination throughout his career. Oscar Snubs and Omissions: Gordon Willis' remarkable cinematography in both Godfather films was not nominated. And the Best Picture nomination for The Towering Inferno displaced such excellent films in the category as Young Frankenstein , A Woman Under the Influence, Alice Doesn't Live Here Anymore, and Day For Night.

Richard Lester's brilliant swashbuckler The Three Musketeers received no nominations, including an impressive performance by Charlton Heston as evil Cardinal Richelieu and others (Oliver Reed (Athos), Richard Chamberlain (Aramis), and Frank Finley (Porthos) as the three musketeers). Liv Ullman's searing performance as Marianne in Ingmar Bergman's Scenes from a Marriage would have been nominated and had a good chance of winning Best Actress, but the film was declared ineligible because it had been shown in a six-part, 5-hour version on Swedish television prior to its theatrical release in a shortened version. Director Joseph Sargent's crime thriller The Taking of Pelham One Two Three, about a New York subway car hijacking by terrorists (led by Mr. Blue (Robert Shaw)) who were challenged by the Transit Authority's chief of security Lieutenant Zachary Garber (Walter Matthau), was completely snubbed by the Academy. Director Alan J.

Pakula's excellent political thriller The Parallax View (with Warren Beatty as newspaper reporter Joseph Frady) was un-nominated in all categories, as was Robert Altman's 1930s-style crime film Thieves Like Us (with Keith Carradine as Bowie and Shelley Duvall as Keechie) and Terry Gilliam's Monty Python and the Holy Grail. Martin Scorsese's film Alice Doesn't Live Here Anymore was overlooked in the Best Director and Best Picture categories. Best Picture-nominated films by Francis Ford Coppola had three deserving stars not included in the various acting categories as nominees: Gene Hackman as Harry Caul, a frustrated surveillance expert in Coppola's great mystery thriller The Conversation John Cazale as pitiable, tragic and traitorous Fredo Corleone, a black-sheep who betrayed his brother Michael (Al Pacino) ("I know it was you Fredo. You broke my heart"), in Coppola's great gangster sequel The Godfather, Part II Goldie Hawn was overlooked as Lou Jean Poplin in director Steven Spielberg's The Sugarland Express, a cross-country adventure film of a desperate couple's flight - it was Spielberg's first feature film.

And Richard Dreyfuss was neglected in one of his earliest performances as aspiring Jew Duddy in The Apprenticeship of Duddy Kravitz. Eddie Albert was bypassed for his role as Florida prison Warden Hazen in The Longest Yard. Gene Wilder (and other unrecognized cast members, such as Madeline Kahn, Teri Garr, Marty Feldman, Cloris Leachman and Kenneth Mars) was un-nominated as mad scientist Victor Frankenstein in Mel Brooks' Young Frankenstein (with only two unsuccessful nominations, for Best Adapted Screenplay (co-nominees Wilder and director Mel Brooks) and Best Sound). Recognition was sorely lacking for the film's set decoration (of Frankenstein 's 1931 castle), its B/W Cinematography, and its Director. Blazing Saddles (with only three unsuccessful nominations, for Best Film Editing, Best Song, and Best Supporting Actress-Madeline Kahn), another Brooks' film in the same year, also lacked a nomination for Gene Wilder, and for Cleavon Little, as well as recognition for its director.

Free Maureen McGovern biography and latest music, latest album, top tracks | SONG365 Country:Other Genres:Standards, Traditional Pop, Female Vocalists, 70s, Pop, Usa, Maureen Mcgovern Biogphiy: McGovern was born in Youngstown, Ohio to Mary Rita Welsh and James Terrence McGovern.[1] She has Irish ancestry.[2] As a child, McGovern would listen to her father’s barbershop quartet rehearse in their home. She was told by her elders that she began singing at the tender age of three, and would sometimes sing herself to sleep with things she heard on the radio. She decided at age eight that she wanted to be a professional singer; and she developed a taste for various types of music, including jazz, showtunes, oldies, and folk. Her influences include Barbra Streisand and Dionne Warwick. After graduating from high school in 1967, she worked as a secretary and performed part-time as a singer for a local folk band called Sweet Rain.

Her singing caught the attention of Russ Regan (then head of 20th Century Records) in 1972 when he heard a demo she had recorded. At the time, Regan was searching for a singer to record “The Morning After” (the theme from The Poseidon Adventure) for release as a record. He hired McGovern sight unseen to record the song, which led to her signing with 20th Century Records. After it won an Oscar for Best Original Song, “The Morning After” quickly climbed the pop charts, reaching #1 in 1973. In 1974, she recorded two movie themes: “We May Never Love Like This Again” (from the disaster film The Towering Inferno, in which she made a short appearance when she is seen singing the song as the evening’s entertainment) and “Wherever Love Takes Me” (from the British disaster film Gold). The former won an Oscar (though it was only a minor pop hit), and the latter received an Oscar nomination. These two songs (along with “The Morning After”) led the media to call McGovern “the Disaster Theme Queen.” Maureen McGovern Tracks

Question: The song We May Never Love Again came from which 1974 disaster film
Answer: Towering Inferno