One of only two live filmed performances of Buddy Holly that live on
prior to the Hologram
BUDDY HOLLY TO PERFORM AGAIN
Courtresy Natalie Groves, KVUE:
BEVERLY HILLS, CA — It’s a sign of the times. A Buddy Holly hologram is in the works.
Hologram USA Entertainment Inc., the same people who brought the Tupac hologram to Coachella, announced its partnership with Holly’s widow to bring a tour of the late star to Texas in 2016. Maria Elena Holly gave Hologram USA permission to use Holly’s likeness for the hologram.
“I am so excited that my partnership with Hologram USA on the Buddy Holly concert project will allow a new generation of fans to experience the thrill of seeing Buddy ‘live’ and in concert for the first time in many decades,” said Maria Elena Holly, head of Buddy Holly Licensing. “This show is dedicated to Buddy’s fans around the world — it is because of them that his music will ‘Not Fade Away.'”
Maria Elena Holly attends Buddy Holly’s induction into The Hollywood Walk of Fame on September 7, 2011 in Hollywood, California. (Photo: Jason LaVeris, FilmMagic) Buddy Holly, a Lubbock native, is widely considered a pioneer of rock ‘n’ roll music. His career only lasted a year before his untimely death by a plane crash on Feb. 3, 1959. Holly was 22 years old. The day of the plane crash is often referred to as ‘The Day the Music Died.’
The Holly hologram is already in the works. The launch city and date will be announced soon. After the Texas Holly tour, the show will tour the United States, and then the world.
“I am a big Buddy Holly fan so much so that I still can’t believe that we are in the Buddy Holly business. This is a great time for Hologram USA to help bring back this incredible icon,” said Alki David, CEO of Hologram USA.
“The incredible performance of I Love Lucy: A Colorized Celebration demonstrates the enormous appeal of experiencing classic television on the big screen, and Fathom Events’ commitment to innovation and creativity in both the broadcast and cinema industries,” said Fathom Events CEO Ray Nutt, whose company is enjoying a record-breaking year. cont
Lucille Ball’s Daughter Reflects on ‘I Love Lucy’ Memories, Finding Own Place in Creative Arts
Ahead of the event, The Hollywood Reporter spoke with entertainer Lucie Arnaz — the daughter of Ball and Arnaz, who made her debut on Here’s Lucy in 1968 and subsequently carved out a varied performance career in
musical theater and acting — about childhood memories, her experience of I Love Lucy and finding her own place in the creative arts.
You’ve been a performer in your own right for many years now.
How do you feel about connections to your mother and father now versus
when you were growing up?
In a weird way, I guess I’ve always expected it, but truthfully, I
don’t get a lot of them. I don’t know why that is. The only people who
tend to connect me with them in that way are people on Facebook. I’ll
say something or I’ll do something, and they’ll say, “Oh, just like your
mom on such and such show….” But generally, in my professional career,
very few times have I had to go head-to-head, and I think it’s because I
went in a different direction. I wasn’t on a television show doing
comedy sitcoms for most of my life; I went into theater and music. Maybe
that’s why I decided to switch it up a little bit.
Was there an expectation that you would enter the arts field?
When I was very young, like five or six, I was shy and afraid to get
up in front of people. I think it was because I saw the power of what
the two of them were, and it was intimidating when you don’t know if you
have any talent. I don’t want to be that opening act, you know? But
when I became about eight or nine years old, I had a little backyard
group with my girlfriends and we would put on plays that we either made
up or we would lip-sync to Broadway show albums and things. It was
something I was passionate about, I would jump up on make-believe
stages. Mom was very supportive of any of my brothers’ and my passions;
whatever it was, if he wanted to play the drums or piano then she would
arrange lessons. She saw that I was having a good time doing that so she
built a little stage in the backyard garage, with one light, so that we
could do it better, and we would charge tickets to our neighbors.
Then, I picked a high school because it had one of the best drama
departments, and I started doing shows and learning craft that way. When
[Lucille] got ready to switch her television show up, she just popped
the question. She said, “You know, we’ve done our show for six years,
and syndication wise we could start another show and syndicate it, and
I’m just thinking that perhaps you would like to play the child on the
new series.” I thought that was interesting, because she was giving me
the opportunity if I wanted it, to continue the education in the
direction I was going. At first I didn’t want to do it, but then I
thought, as long as I don’t make a fool of myself, it’s probably great
education. And it truly, truly was. But I don’t think either my mother
or my father assumed I would go into this business at all and they never
pushed us in that direction or told us it was a great thing to do. What
we saw were two people who worked hard but were hardly ever home. We
knew from the inside how hard this business could be. I had no fantasies
about what working in show business would be, so it was my choice to go
ahead and give it a shot.
How did your experience of your mother differ from how the public consumed her on television?
My mother was a very private person and so was my father, though he
was more gregarious with people. He was Latin, everybody was “amigo'”and
a best friend. He would sing at the drop of a hat even when he wasn’t
being paid for it. My mother, when she was off-camera and home, she was
home. She didn’t leap at the chance to get up and perform in front of
people, like a lot of comedians and performers do. She liked her at-home
time with family, she played games sort of as meditation and
relaxation, Backgammon and Scrabble.
You were well into your performance career when Lucille died.
Is there a memory you can recall where the two of you connected as
peers and shared your experience?
It’s interesting because I started my professional career on the Here’s Lucy show.
It was interesting to sort of be peers from the beginning, even though
she was the star of the show, we were all actors trying to learn our
lines and get the blocking right in four days and to perform in front of
an audience. There’s a camaraderie there and we did feel like peers,
especially after the first couple of years with Gail [Gordon] and some
of the guest stars that would come on. Then, later on, she was very
supportive of my work when she would come and see me in a Broadway show
or touring around the country. I don’t think I ever got a note from her
ever. I always felt like she was another actor friend, but one who
really wasn’t a musical performer and she was sort of in awe that I
decided to go and do that. She would say, “I don’t know how you do it,”
and that was a huge compliment coming from her.
There are many family values in I Love Lucy that
have resulted in its timeless appeal. What do you most identify with
from the show, that you’ve integrated into your own life?
Since I grew up with it and never knew anything else, I don’t know if
I resonate with it the way other people do although I laugh at it for
the same reasons: ordinary people getting into ordinary situations and
trying to get out of them, while getting into trouble and somehow
getting away with it and everybody still loves them in the end. If
there’s anything I take away from the show in general, I think it’s the
unconditional love. That’s the feeling [you get] when the show is over:
Awww. It worked out OK, and that I can get in trouble too and maybe
there’s somebody who will put their arms around me at the end of the day
and say, “I still love you.” I incorporate that into my life and I hope
that’s the way I live my life. Also, to not take things very seriously.
When you grow up as the daughter of Lucille Ball and Desi Arnaz, you
learn to see the humor in things. That’s important today.
What is your take on the newly colorized episodes?
I didn’t get as excited about it as everybody else, and I think there
could be something in my brain that remembers what it looked like for
real and so black-and-white or color doesn’t affect me really. I still
appreciate black-and-white, and I kind of didn’t like the intrusion in
the color, it took me out of it, but I’ve changed my mind a little bit
because it seems to be attracting so much of the younger crowd who don’t
like black-and-white. If that’s true, then that’s great. I do think
it’s hilarious that Lucille has become ultra-famous on that show for
being a redhead in a black-and-white show. It just proves that you
didn’t need it to be color. But hey, it’s like a party — they spent an
awful lot of money to do this well, and they did it really well. It’s
more the idea, too, that they’re running it on the big screen. The fact
that they’re having this event to celebrate mom’s birthday on Aug. 6 and
they would put it all around the country — is fantastic.
How has your performance career been influenced by Lucille’s acting style?
I hope what I have taken from watching her for 68 years is the
believability. If you don’t believe what you’re doing, nobody will
believe it and it won’t be funny. People can write lots of funny stuff
for you, but if you play it like you know how funny it is, it’s never
funny. She believed what she did and she was the queen of doing that.
There isn’t a fake moment in I Love Lucy. Not one. If you look
at an example, maybe the Vitameatavegamin routine, there isn’t a false
moment — she is in it from the beginning all the way through to the end.
And it can be as exaggerated as she wanted it to be because she was
totally connected to what she was doing and why. Not trying to get a
laugh, trying to be in the situation. It’s a perfect example because she
kept taking another tablespoon of the stuff, so it shows how the
increments of this could get bigger and bigger and you actually watch it
happen. She never got ahead of it — it’s kind of a wonderful metaphor
for life: Be living in that first spoonful and then be living in the
second spoonful and don’t be ahead of yourself. That’s what you learn
from watching her.
Marty Allen, the baby-faced, bug-eyed comedian with wild black hair who was a staple of TV variety shows, game shows and talk shows for decades, died Monday night. He was 95.
Allen died in Las Vegas of complications from pneumonia with his wife and performing partner of the last three decades Karon Kate Blackwell by his side, Allen’s spokeswoman Candi Cazau told The Associated press.
Allen, known for his greeting and catchphrase “hello dere,” was a living link late in life to a generation of long-dead superstars with whom he shared a stage, including Dean Martin, Frank Sinatra, Lena Horne and Elvis Presley
He first found fame as half of the duo Allen & Rossi with partner Steve Rossi, who died in 2014. Allen & Rossi appeared 44 times on “The Ed Sullivan Show,” including the episodes where the Beatles performed and most of America watched.
“Everyone remembers those shows with The Beatles, and they were great, but we appeared on all the shows,” Allen said in 2014. “There wasn’t a talk show on TV that didn’t want Allen & Rossi.”