Sunday, December 9, 2007

charles nelson riley

Added exposure is really all show

Coaches needn't worry about efforts to provide inside access

10:37 PM CST on Saturday, December 8, 2007

Miami's Pat Riley knows it will make good TV. But he considers it an invasion of privacy and is convinced it inhibits communication.

Chicago's Scott Skiles is concerned about exchanges between coach and player that will be taken out of context.

These guys are so old school. Get over it. Putting a microphone on coaches and selected players during nationally televised games is what fans, networks and your commissioner want. Mounting cameras in locker rooms to record intimate details is the wave of the future.


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So what if it's stolen from NASCAR. This is a great idea. So great, that I agree with San Antonio's Gregg Popovich.

Let's put a camera and microphone in the next sensitive meeting conducted by David Stern.

Oh, I know. Stern will argue no one cares about the mundane business matters of the league office. He will allege it's not entertainment and thus should be excluded.

I disagree. Fans want to understand how Stern arrives at a suspension for a player, what he thinks of putting a team in Las Vegas or what he really thinks of Seattle's potential move. It may not play big nationally, but it should draw decent ratings in Seattle and Oklahoma City.

Who wouldn't want to know how Stern responds when he's told of Mark Cuban's latest provocative statement or challenge to his expertise? Who wouldn't want to hear the commissioner verbally undress an underling who made an honest mistake?

It's great TV.

And still, coaches don't get it.

They are concerned about destroying the bond of trust that is essential during the stressful moments of a competitive game. All they focus on is how it could corrupt the lines of communication.


Cuban has stated that none of this is about busting a coach or a player. He assures all delicate information will be protected, "like Fort Knox."

That's why Cuban shouldn't have a problem installing a microphone and camera in Donnie Nelson's office the next time he meets with the Mavericks general manager and coach Avery Johnson to discuss a potential trade. It helps bring the sport closer to the public.

Besides, if the discussion is too revealing, if the comments are too embarrassing, the video will never be released. Privacy and good taste always override prurient interests.

We've seen that on YouTube.

The NBA and the networks aren't offering reality.

They're offering the appearance of reality. They're teasing you with an inside glimpse that is sanitized and controlled. That's what our culture demands.

That's what Stern and otherwise reasonable intellectuals strive to provide.

"I think it's the power of TV," Denver coach George Karl said. "TV is a big part of our business and making them happy is a big part of what is going on right now.

"I don't have any problem with that. I think they've done a great job. I don't think we'd be in the position we are without TV.

"But it is the sanctuary that coaches have trouble giving up."

The powers that be have no trouble giving it up.

That's because it's not their sanctuary.

And that's because you won't learn anything you otherwise didn't know.

My two cents
All I've heard from Mavericks fans and certain members of the media is that it doesn't matter what goes on during the regular season. The only way to judge this team is by what happens in the playoffs.

So why have so many people pushed the panic button now that the Mavericks are off to a slow start?

You can't have it both ways. Does the regular season matter or not? Has a fatal flaw been exposed in this team that can't be corrected over the next four months?

Avery Johnson has backed off, turned the keys to the offense over to Devin Harris and encouraged a greater cast of characters to step up around Dirk Nowitzki. Did anyone think this transition would be made without a hitch?

The Mavericks have taken one step back in the hopes of taking two steps forward. Let's give them a little time to regain their footing.
Charles Nelson Reilly
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For other persons of the same name, see Charles Reilly (novelist).
Charles Nelson Reilly

Charles Nelson Reilly in 2000.
Born January 13, 1931(1931-01-13)
The Bronx, New York, New York, USA
Died May 25, 2007 (aged 76)
Beverly Hills, California, USA
Partner(s) Patrick Hughes III (1980-2007)
Tony Awards
Best Featured Actor in a Musical
1962 How to Succeed in Business Without Really Trying

Charles Nelson Reilly (January 13, 1931 � May 25, 2007) was an American actor, comedian, director and drama teacher known for his comedic roles in movies, children's television, animated cartoons, and as a panelist on the game show Match Game.

1 Biography
1.1 Career
1.2 Personal life
2 Filmography
3 Television roles
4 References
5 External links

[edit] Biography
Reilly was born in the Bronx, New York City, the son of Charles Joseph Reilly, an Irish Catholic commercial artist, and Signe Elvera Nelson, a Swedish Lutheran.[1][2] When young he would often make his own puppet theater to amuse himself. His mother, foreshadowing his future as an entertainer, often would tell him to "save it for the stage". At age 13, he escaped the Hartford Circus Fire[3] where over a hundred people died, and as a result he never sat in an audience again through the remainder of his life.[4]

[edit] Career
Reilly made his first motion-picture appearance in 1957, playing an uncredited role in A Face in the Crowd, directed by Elia Kazan. Most of his work during this period was on the stage. Reilly appeared in many Off-Broadway productions. His big theatrical break came in 1960 with the enormously successful original Broadway production of Bye Bye Birdie. In the ground-breaking musical, Reilly had a small onstage part, and was the standby for Dick Van Dyke in the leading role of Albert Peterson. In 1961, Reilly was in the original cast of another big Broadway hit, the Pulitzer prize-winning musical How to Succeed in Business Without Really Trying. For his memorable creation of the role of Bud Frump ("Coffee Break"), Reilly earned a 1962 Tony Award for featured actor in a musical.[5]. In 1964, Reilly was featured in the original cast of yet another giant Broadway success, Hello, Dolly!. For creating the role of Cornelius Hackl, Reilly received a second nomination for a Tony Award for performance by an actor in a featured role in a musical[5].

While he kept active in Broadway shows, Reilly would soon become better known for his TV work. Reilly appeared regularly on television in the 1960s. For example, he did stints both as one of the What's My Line? Mystery Guests and as a panelist on the popular Sunday Night CBS-TV program. In 1965, he made regular appearances on The Steve Lawrence Show, which aired for a single season. From 1968 to 1970, he appeared as uptight "Claymore Gregg" on the television series The Ghost & Mrs. Muir, which also starred Hope Lange and Edward Mulhare. In one episode, Reilly was reunited with his Hello, Dolly! original Broadway castmate Eileen Brennan.

In 1971, he appeared as the evil magician "Hoodoo" in Lidsville, a psychedelically flavored live-action children's program produced by Sid and Marty Krofft that aired on Saturday mornings on ABC. The show was about a boy who falls into a magician's hat and enters a magical world of hat-humans. It is through these roles, as well as his playing the titular role in Uncle Croc's Block, that Reilly's voice and mannerisms were embedded in a generation of young fanatics.

During the 1970s, Reilly also appeared as a regular on The Dean Martin Show, and had multiple guest appearances on television series including McMillan and Wife; Here's Lucy; Laugh In; The Love Boat; and Love, American Style. He was also a frequent guest on The Tonight Show with Johnny Carson, appearing more than one hundred times. Because Reilly was such a lively and reliable talk-show guest and lived within blocks of the Burbank studios where The Tonight Show was taped, he was often asked to be a last-minute replacement for scheduled guests who did not make it to the studio in time. During this time, Reilly was perhaps best known as a fixture of game shows, primarily due to his appearances as a regular panelist on the television game show Match Game. Reilly was the longest-running guest, and often engaged in petty, hilarious arguments with fellow regular Brett Somers. Reilly typically offered sardonic commentary and peppered his answers with homosexually themed double entendres that pushed the boundaries of 1970s television standards.

Match Game '77 cast: from left to right Richard Dawson, Reilly, Brett Somers, and host Gene RayburnFrom 1975 to 1976, Reilly starred in another live-action children's program called Uncle Croc's Block with Jonathan Harris. Reilly was often a guest celebrity in the 1984 game show Body Language, including one week with Lucille Ball and another week with Audrey Landers.

From 1980, Reilly was primarily active teaching acting and directing for television and theater. He directed episodes of Evening Shade in 1990 and earned a 1997 Tony Award nomination as Best Director of a Play for working with longtime pal Julie Harris, opposite whom he had acted in Skyscraper, and whom he had directed in The Belle of Amherst and a revival of The Gin Game.

Reilly was a longtime teacher of acting at HB Studio, the acting studio founded by Herbert Berghof and made famous by Berhof and his wife, the renowned stage actress Uta Hagen. Reilly's acting students included Lily Tomlin and Bette Midler.

In the 1990s, Reilly made guest appearances on The Drew Carey Show, The Larry Sanders Show, Family Matters, Second Noah, and as eccentric writer Jose Chung in the television series The X-Files ("Jose Chung's From Outer Space") and Millennium ("Jose Chung's Doomsday Defense"). Reilly was nominated for Emmy Awards in 1998 and 1999 for his performances in The Drew Carey Show and Millennium, respectively. From the late 1990s, Reilly directed theater and opera, touring the country performing a critically acclaimed one-man stage show chronicling his life called Save It for the Stage: The Life of Reilly and occasionally performing as the voice of "The Dirty Bubble" on the animated series SpongeBob SquarePants. In 2006, his one-man, autobiographical stage show was made into a feature film called The Life of Reilly, offering audiences a glimpse into his background and personal life.[6]

[edit] Personal life
Reilly did not publicly proclaim his homosexuality until his one man show Save It for the Stage. However, much like fellow game-show regular Paul Lynde of the same era, Reilly played up a campy on-screen persona. In many episodes of Match Game, he would lampoon himself by briefly affecting a deep voice and self-consciously describing how "butch" he was. He mentioned in a 2002 interview with Entertainment Tonight that he felt no need to note this and that he never purposefully hid his homosexuality from anyone.

Patrick Hughes III, a set decorator and dresser, was Reilly's partner; the two met backstage while Reilly was appearing on the game show Battlestars. They lived in Beverly Hills.[7]

On May 25, 2007, Reilly died at his home from complications from pneumonia after a year-long illness.[8]


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