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Sweetheart

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SaturdayNightSweetheart

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SaturdayNightSweetheart

Gilda RadnerSaturday Night Sweetheart

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Childhood

Discovered

Meeting Gene

Weight

SNL

Marriage

College

Broadway

Bullimia

Diagnosis

Gilda’s ClubCultural Influence

RemissionDeath

Early Years

Detroit to New York

Hanky Panky

Behind the Scenes

No More Bad News

Legacy

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69

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73

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1Early Years

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“He was always encouraging her to go out in front of a crowd and

perform. She was so young when she lost him. It drew her even closer

to him.” –Michael Radner

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Childhood

Gilda Radner was born June 28, 1946, into the prosperous Detroit Jewish family of Herman and Hen-rietta (Dworkin) Radner and older brother Michael. With an appaling lack of foresight, she was named Gilda, after the torchy ‘40s nightclub singer played by Rita Hayworth in the movies. As luck would have it and despite her hopes, Gilda Radner never did become a glamour queen-at least not in the ordinary sense. Waifish and loopy, the little Miss Firecracker with the toothpick arms and infectious cackle instead became something more.

Herman’s father, George Ratkowsky, had emigrated from Lithuania to New York City, and later to Detroit, where he established a successful ko-sher meat business. Herman, despite only a fifth-grade education, made the family fortune from an Ontario brewery he purchased in the 1920s. Radner’s mother, Henrietta, was an aspiring ballet dancer who worked as a legal secretary until she married Herman in October 1937.

Radner remembers her childhood as one of the most difficult periods of her life. Because her mother could not tolerate the Detroit winters, the family spent four months each year in Florida, disrupting the school year, and preventing Radner from making close friends. Radner became attached instead to her governess, “Dibby” (Elizabeth Clementine Gil-lies), who would become the model for her SNL character Emily Litella. Her relationship with her mother was distant and somewhat competi-tive, but Radner felt very close to her father. Her father operated Detroit’s Seville Hotel, where many nightclub performers and actors stayed while performing in the city. He took her on trips to New York to see Broad-way shows.

As Radner wrote in It’s Always Some-thing, when she was twelve her father developed a brain tumor, and the symptoms began so suddenly that he told people his eyeglasses were too tight. Within days he was bedridden

and unable to communicate, and he remained in that condition. Years later Gilda would wonder,

“She was always a little actress,” says Radner’s mother, Henrietta. “Even on the phone she expressed herself with emotions.”

“So did I become an entertainer because my father died and I wanted to be what he loved? I don’t know.”

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Childhood brought other pains. Radner’s blooming weight, for ins- tance, didn’t make her the hottest date at Detroit’s Liggett School for Girls. One boy, who happened to size her up at the door for a prospective blind date, bluntly said, “You realize I can’t take you out, don’t you?”

Radner wrote in her autobiography It’s Always Something toward the end of her life, “I coped with stress by having every possible eating disorder from the time I was nine years old. I have weighed as much as 160 pounds and as little as 93. When I was a kid, I overate constantly. My weight distressed my mother and she took me to a doctor who put me on Dexedrine diet pills when I was ten years old.”

Weight

Because her mother could not tolerate the Detroit winters, the family spent four months each year in Florida, disrupting the school year, and preventing Radner from making close friends. Radner became attached instead to her governess, “Dibby” (Elizabeth Clementine Gil-lies), who would become the model for her SNL character Emily Litella. When schoolchildren teased Radner for being overweight, “Dibby” provided Radner with her first lesson in comedy, telling her to “say you’re fat before they can. Just make a joke about it and laugh.”

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“Dibby and I having a nice visit after lunch. She let me try on her new

silver-gray wig.” –Gilda Radner

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Ten-year-old Gilda as

a hefty cowgirl

By age sixteen, Gilda

had tried every diet in

the book.

Henrietta and Herman

celebratie Gilda’s birthday

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“Dibby” provided Radner with her first lesson in comedy, telling her to “say you’re fat before they can. Just make a joke about it and laugh.”

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Radner attended the University of Michigan, majoring in drama, but never graduated. She made a lifelong platonic friend of fellow student Da-vid Saltman, who would later write a biography of her after her death. In Ann Arbor, Radner began her broad-casting career as the weather girl for college radio station WCBN, but dropped out in her senior year to fol-low her then-boyfriend, a Canadian sculptor named Jeffrey Rubinoff, to Toronto, Ontario, Canada. In Toronto, she made her professional acting debut in the 1972 production of Godspell with future stars Eugene Levy, Andrea Martin, Victor Garber and Martin Short. She later joined the Toronto company of Second City

College

Comedy, an improvisational comedy troupe, where she worked with Dan Aykroyd, John Belushi, and Bill Murray.

Radner moved to New York in 1973, joining many of her Second City friends in The National Lampoon Show, a comedy program syndicated to some 600 U.S. radio stations from 1974 to 1975. Fellow cast members included John Belushi, Richard Bel-zer, Chevy Chase, Bill Murray and Brian Doyle-Murray.

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2Detroit to New York

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Discovered

In 1969, one semester before gradu-ation, she left town for Toronto and got a job as a ticket taker for $60 a week at a local theater. Soon local theaters were taking stock of her. Radner won a part in a 1972 produc-tion of Godspell and a year later became a member of the Second City comedy group, joining the likes of Belushi, Dan Aykroyd and John Candy. She also caught the eye of producer Lorne Michaels, who recalls being impressed by such peculiar Radner abilities as “playing 14 Bingo cards at a time” or “remembering everything she’d eaten that day. She’d just literally reel it off—the french fries off someone’s plate, a Milk Dud from the bottom of her purse.” This latter talent soon formed the ba-sis of a regular feature, called “What Gilda Ate,” on a TV show that Michaels began producing for NBC in 1975, Saturday Night Live. Radner was the first woman he signed, and she quickly became the Not Ready for Prime Time Players’ brightest female star. “If Saturday Night Live was like Never-Never-Land, the Island of Lost Boys, she was Tinker Bell.” says Anne Beatts, the show’s former head writer. “She just hadn’t lost touch with the child in her.”

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The cast of Godspell on Broadway

The cast of Godspell on Broadway

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Original cast of Saturday Night Live

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but eventually I get Horny for my

Creativity”

“I can always be distracted by love

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but eventually I get Horny

Creativity”

“I can always be distracted by love

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In 1975, producer Lorne Michaels chose Radner (whom he had seen perform in Toronto) and other mem-bers of the Second City company for his new late-night comedy/vari-ety show. Gilda Radner premiered with the Not Ready for Prime Time Players on Saturday Night Live in October 1975.

Radner gained name recognition as one of the original “Not Ready For Prime Time Players”, a member of the freshman group on the first sea-son of Saturday Night Live. She was the first performer cast for the show. Between 1975 and 1980, she created such characters as Roseanne Rosean-nadanna, an obnoxious woman with

Roseanne Roseannadanna

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wild hair whose trademark was,

gave her autobiography its title, and who would tell stories about the gross habits of celebrities on the show’s “Weekend Update” news segment, inspired in name and ap-pearance by Rose Ann Scamardella, a news anchor at WABC-TV in New York City. Other SNL characters included “Baba Wawa,” a spoof of Barbara Walters (see also Barbara Walters’ reaction to it), and Emily Litella, an elderly hearing-impaired woman who gave angry and

“It’s always some thing–if it ain’t one thing, it’s another,”

misinformed editorial replies on “Weekend Update” on topics such as “violins on television,” the “Eagle Rights Amendment,” “presidential erections,” “making Puerto Rico a ‘steak’”, “busting school children”, and “protecting endangered feces.” Once corrected on her misunder-standing, Litella would end her segment with a polite “Never mind.” But later on, she would answer Jane Curtin’s frustration with a simple “Bitch!” Radner parodied such ce-lebrities as Lucille Ball, Patti Smith, and Olga Korbut in SNL sketches. She continued to perform with the troupe until 1980, garnering a 1978 Emmy Award for her work on SNL.

SNL

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The versatile pivot of the Not Ready for Prime Time Players, that break-throguh comedy cadre of the 1970s, she became the nation’s favorite Saturday Night date. She became the girlfriend who could always make you laugh even after the glamour queens and football captains of this world went out with someone else. She became a generation’s endear-ingly goofy sweetheart.

She traveled with her lumpy carpet-bag of characters named Emily and Baba and Lisa and Roseanne. “So much of what made up her char-acters didn’t come out of dreaming that stuff up. They evolved from her being so open to the funniness in life” said David Sklare, friend from Michigan’s Camp. Known to television audiences as bumbling Emily Litella, scatterbrained Rose-anne Roseannadanna, and nerdy Lisa Loopner, Gilda Radner shot to star-dom, hailed as the next Lucille Ball.

Candy SliceRhonda Weiss

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Roseanne Roseannadanna Baba Wawa Emily Litella

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The SNL years “were the period when she

was America’s sweetheart,” says Bernie

Brillstein, who managed Radner, Belushi

and Aykroyd. “I remember her walking

down the street in a Yankee baseball hat,

with her ponytail through a hole in the

back of the hat, walking with that ballet

walk, and everyone in the street would say,

‘Hi, Gilda.’ They loved her.”

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In 1979, frazzled by the grueling day-for-night schedule, Gilda left SNL and sashayed to Broadway, where she starred in a one-woman show, Gilda Radner—Live from New York and Jean Kerr’s Lunch Hour. The show featured racier material, such as the song Let’s Talk Dirty to the Animals. In 1979, shortly before Radner began her final season on Saturday Night Live, her Broadway show was filmed by Mike Nichols under the title Gilda Live!, co-starring Paul Shaffer and Don Novello, and was released to theaters nationwide in 1980 with poor results. A soundtrack album was also unsuccessful. During the produc-tion, she met her first husband, G. E. Smith, a musician who also worked on the show. They were married in a civil ceremony in 1980.

Broadway

In spite of her successes, however, she had moments of insecurity. Obsessed with food, she became a bulimic. Loneliness also wounded her. “If humor is the foundation” for life, she wrote, “then men are the first floor.” After 15 root canals in two years, she claimed that the man she’d known longest in New York was her dentist.

In the fall of 1980, after all original SNL cast members departed from the show, Radner starred opposite Sam Waterston in the Jean Kerr play, Lunch Hour, as a pair whose spouses are having an affair, and in response invent one of their own, consisting of trysts on their lunch hour. The show ran for over seven months.

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3Behind the Scenes

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While life as a television star was glamorous and fulfilling, Radner suffered from the pitfalls that can accompany fame. She once told a reporter that she had thrown up in every toilet in Rockefeller Center.

And although Radner clung to the SNL crowd as a surrogate “fam-ily,” she often voiced her desire for marriage and a family of her own.

Bullimia

She had a relationship with SNL castmate Bill Murray, with whom she also had worked at the National Lampoon, that ended badly. Few details of their relationship or its end were made public at the time. When Radner wrote It’s Always Something, this is the only reference she made to Murray in the entire book: “All the guys [in the National Lampoon group of writers and performers] liked to have me around because I would laugh at them till I peed in my pants and tears rolled out of my eyes. We worked together for a couple of years creating The National Lampoon Show, writing The National Lampoon Radio Hour, and even working on stuff for the magazine. Bill Murray joined the show and Richard Belzer ...”

Under constant public scrutiny, her lifelong insecurity about her appearance resurfaced, manifesting itself in bouts of bulimia.

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I had crowned myself “the queen of neurosis.” I worried too much. I felt guilty too often. I “what- iffed” every situation. I found my own behaviour irritating and endearing at the same time.

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Radner had mixed emotions about the

fans and strangers who recognized her

in public. She sometimes became “angry

when she was approached, but upset when

she wasn’t.”

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4Hanky Panky

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Radner met actor Gene Wilder on the set of the Sidney Poitier film Hanky Panky. She described their first meeting as “love at first sight.” She was unable to resist her attrac-tion to Wilder as her marriage with guitarist G.E. Smith deteriorated. “When I went to see Gilda, Gene was across the room,” says Katz, who visited them on the Hanky Panky set. “There was a chemistry that was palpable and an electricity in the air. They hadn’t been together yet, but there was no chance that they weren’t going to be.” Radner went on to make a second film, The Woman in Red, in 1984 with Wilder and a third film together, Haunted Honey-moon, released in 1986.“Gene was funny and athletic and handsome, and he smelled good,” Gilda wrote. She learned tennis to please him, and she made it her full-time job to talk him into marrying her. She finally succeeded on Sept 18, 1984, with a ceremony held in Saint-Paul-de-Vence, a leafy 13th-century town in the hills of southern France. “They were constant hon-eymooners,” says producer Martin Ransohoff’s wife, Joan. “It was fun and infectious to be around them they were so in love. You were really happy for them. Both had been mar-ried before, and they were very, very happy to have found one another.”

Meeting Gene

After marrying Wilder in 1984, Gilda still “lover her work,” says producer Lorne Michaels.

Radner wanted a baby desperately and was making great progress with her bullimia. After seeing her gynecologist, Gilda found out that her tubes were closed and that the only way she could ever have a child was by having a major operation, or by trying the in vitro fertilization procedure. Wilder said that their relationship was more important than having a baby, but Radner had setlled on having the operation.

Every evening at six, Wilder gave her hormone injections, but they were unsuccessful. She booked herself for major surgery to have her tubes opened and recovered in a week. She was ready to have a baby.

Radner got pregnant while she and Wilder were in England. She was pregnant for a week, and then had a miscarriage. But now she knew it was possible for her to get pregnant.

But having Gene to care about was the most important thing for her.”

“

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Gene Wilder and Gilda Radner in Haunted Honeymoon

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“My life went from black-and-white to Technicolor.”

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Hanky Panky

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5No More Bad News

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After a flu that wouldn’t go away, Gilda went to internists, gynecolo-gists, holistic doctors, and gastroen-terologists, always asking the same question: “Is it cancer?” The answer from all of them was the same: “No, no no... you’re just a highly strung woman,” “You have Epstein-Barr virus,” “Not serious - it’s just mit-telschmerz,” or “Depression, stress, anxiety.” After ten months of no di-agnoses or incorrect diagnoses- with her stomach distended as if she were hiding a small balloon under her dress- she finally heard it: “You have stage four ovarian cancer.”

Gilda received chemotherapy treat-ments in the hospital in California, but would come home and try to lead as normal a life as possible. The first few days were always exhausting because she was so hyped up from steroids.

Gene says, “Every once in awhile, when she was ready to go to sleep, she would pull the covers up around her head, like a little girl, and look at me with those huge brown eyes, and plead–as if I were her father–”Help me... Please help me... I don’t know what to do.”

Diagnosis

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In all, there were nine rounds of che-motherapy, 30 radiation treatments and four peritoneal “washes” that infused her with antitumor drugs. Through it all she tried to channel her rage, but sometimes, according to her book, she exploded at Wilder. “You can leave me if you want,” she screamed, “or are you afraid to leave someone who is dying of cancer?”

He never left. “Gene was a doll,” says SNL alumna Laraine Newman. “Gilda said he was 100 percent there for her. But she felt guilty about him. She felt so bad that she was taking so much from him. She wanted to be able to take care of herself.”

One tool she still had was her humor, even if it had been painted black. During chemo she wondered, Emily Liteila—like, how to handle the etiquette of eating at a friend’s house and having a clump of hair from her balding head land right in the salmon dijonnaise. Finally she settled on a cheap Peter Pan wig, the

only head covering she quite cared to wear.

Radner found solace in the Wellness Community, a Santa Monica yellow clapboard house that serves as a free self-help therapy and recreational base for cancer patients. Somehow, she found strength to counsel others with her spirit and humor. “I went bald because of chemotherapy,” says Melinda Sheinkopf, a Wellness mem-ber who won her battle with ovarian cancer. “Gilda made it bearable. She brought me curlers, mousse and gel in a little bag. I laughed myself silly.”

It was to be her last television ap-pearance. In May 1988, after four months of rallying, blood tests again showed insidious “tumor activity.” “She was always cheerful and opti-mistic,” says actor Charles Grodin, a friend of Radner’s. “When you didn’t hear from her, you’d start to get nervous.... She didn’t call in the last six months.”

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After Radner was told she had gone into remission, she wrote It’s Always Something (a catchphrase of her character Roseanne Roseannadanna), which included many details of her struggle with the illness. Life magazine did a March 1988 cover story on her illness, entitled Gilda Radner’s Answer to Cancer: Healing the Body with Mind and Heart. In 1988, Radner guest-starred on It’s Garry Shandling’s Show on Show-time, to great critical acclaim. When Shandling asked her why she had not been seen for a while, she replied “Oh, I had cancer. What did you have?” Shandling’s reply: “A very bad series of career moves... which, by the way, there’s no cure for whatsoever.” She also repeated on-camera Mark Twain’s famous saying,

Radner planned to host an episode of Saturday Night Live that year, but a writers’ strike caused the can-cellation of the rest of the network television season.

Gilda’s blood tests indicated that her tumor activity was returning to normal. After Gilda finished her last chemotherapy, she was given her second-look operation, where the doctor took tissue samples to see if there were any cancer cells observable. Two tissue samples were tainted; the rest were pink and clear. She felt wonderful, but the doctor said he wanted her to have some radiation now. She had her entire abdomen radiated. After radiation, she and Gene returned to her house in Connecticut, “cancer-free.”

For a time, at least, it seemed Radner was in remission. She swam, did nee-dlepoint and began writing her book. In March 1988 she taped an episode for her friend Garry Shandling’s TV show. Knees knocking, she wowed ‘em and won an Emmy nomina-tion. “I’ve been away from TV for a while,” she said to Shandling.

“Yeah, what happened?” he asked.

“I had cancer,” she chirped brightly. “What did you have?

Remission

“Reports of my death are greatly exaggerated.”

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My life had made me funny, and cancer wasn’t going to change that. Cancer, I decided, needed a comedienne to come in there and lighten it up.

I had crowned myself “the queen of neurosis.” I worried too much. I felt guilty too often. I “what-iffed” every situation. I found my own behaviour irritating and endearing at the same time.

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In May 1988, after four months of rallying, blood tests again showed insidious “tumor activity.” “She was always cheerful and optimistic,” says actor Charles Grodin, a friend of Radner’s. “When you didn’t hear from her, you’d start to get nervous.... She didn’t call in the last six months.” With things becoming desperate, Radner said in her book, she tried a macrobiotic diet and threat-ened to go to Mexico for laetrile treatments. “I don’t care if you’re dying,” hollered Wilder. “You’re not going to have peach pits!” But by February, as her strength ebbed and her pallor grew, the inevitable became obvious. Two months ago, Gilda called a Toronto friend, Janet Siskind Robertson.” ‘Oh, God, my mind is 100 percent,’ Gilda said, ‘but my body is like a 4.’ She always needed hugs and kisses when we were kids. And now she was hooking herself up to IVs every night”

Gilda’s hospital trips were coming with ever greater frequency. In the final weeks, said friends, her attitude was “upbeat but realistic.” Her book about the cancer battle was now complete. “She knew the ending had to be ambiguous,” says a close

friend. “She didn’t know the ending. She just hoped it would be a happy one.”

Radner once had a vision of her future. She said,

That, sadly, was not in the cards.

“I grew up in front of a television, I guess I’ll grow old inside of one.”

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In late 1988, after biopsies and a saline wash of her abdomen showed no signs of cancer, Radner was put on a maintenance chemotherapy treatment to prolong her remission, but later that same year, she learned that her cancer had returned after a routine blood test showed her levels of the tumor marker CA-125 had increased. She was admitted to Cedars-Sinai Medical Center in Los Angeles, California on May 17, 1989 for a CAT scan. Because she was fearful that she would never wake up, she was given a sedative.

Gilda passed into a coma during the scan. She did not regain conscious-ness and died three days later from ovarian cancer at 6:20 am on May 20, 1989; Wilder was at her side.

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Her funeral was held in Connecticut on May 24, 1989. In lieu of flowers, her family requested that donations be sent to The Wellness Community. Her gravestone reads: Gilda Radner Wilder - Comedienne - Ballerina 1946-1989. She was interred at Long Ridge Union Cemetery in Stamford.[17]By coincidence, the news of her death broke on early Saturday afternoon (Eastern Daylight Time), while Steve Martin was rehearsing as the guest host for that night’s season finale of Saturday Night Live. Satur-day Night Live personnel, including Lorne Michaels, Mike Myers and Phil Hartman, had not known she was so close to death. They scrapped one of their planned sketches and in-stead, Martin introduced a video clip of a 1978 sketch in which he and Radner parodied an old Hollywood romantic couple’s dance. He cried during his introduction.

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She went in for the scan – but the people there could not keep her on the gurney. She was raving like a crazed woman – she knew they would give her morphine and was afraid she’d never regain conscious-ness. She kept getting off the cart as they were wheeling her out. Finally three people were holding her gently and saying, “Come on Gilda. We’re just going to go down and come back up.”

She kept saying, “Get me out, get me out!” She’d look at me and beg me, “Help me out of here. I’ve got to get out of here.” And I’d tell her, “You’re okay honey. I know. I know.” They sedated her, and when she came back, she remained unconscious for three days. I stayed at her side late into the night, sometimes sleeping over. Finally a doctor told me to go home and get some sleep. At 4 am on Saturday, I heard a pounding on my door. It was an old friend, a surgeon, who told me, “Come on. It’s time to go.”

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When I got there, a night nurse, whom I still want to thank, had washed Gilda and taken out all the tubes. She put a pretty yellow barrette in her hair. She looked like an angel. So peaceful. She was still alive, and as she lay there, I kissed her. But then her breathing became irregular, and there were long gaps and little gasps. Two hours after I arrived, Gilda was gone. While she was conscious, I never said goodbye.

6Legacy

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Gilda’s Club

Wilder is now convinced that “Gilda didn’t have to die.” On May 9 he appeared before a House subcommit-tee to tell them so. “At first I didn’t think it would make any difference if I testified, but we have to learn from the past,” he says of his decision to speak publicly about Gilda’s illness and the tragic misdiagnosis that led, he contends, to her unnecessar-ily early death. “I’m not trying to make up for a wrong that can’t be righted,” he adds. Instead, hoping “to help save the Gildas out there that still have a chance,” he is working with doctors to set up hotlines and support groups to provide women with information. He has also helped establish the Gilda Radner Ovarian Detection Center at Cedars-Sinai Medical Center in L.A. to screen high-risk candidates and run basic diagnostic tests. He spoke to cor-

respondent Jane Sims Podesta with the aim that others should learn from Gilda’s story:

Until three weeks before Gilda died, I believed she would make it. If I made one contribution to this ovar-ian-cancer nightmare, it was that I was so dumb or ignorant or innocent that I never believed she would die so soon. Never. Gilda would wake up frightened in the middle of the night and ask me over and over again, “Am I going to die?” I kept telling her, “I’ll die before you do.” And I meant it. Gilda was too strong a fighter. Her spirit would never give in to cancer, I thought. I was wrong.

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Wilder established the Gilda Radner Ovarian Detection Center at Cedars-Sinai to screen high-risk candidates (such as women of Ashkenazi Jewish descent) and run basic diagnostic tests. He testified before a Congres-sional committee that Radner’s condition had been misdiagnosed and that if doctors had inquired more deeply into her family back-ground they would have learned that her grandmother, aunt and cousin had all died of ovarian cancer, and therefore they might have attacked the disease earlier.

Radner’s death from ovarian cancer helped to raise awareness of early detection and the connection to familial epidemiology.

at the Familial Ovarian Cancer Registry, a research database registry at the Roswell Park Cancer Institute in Buffalo, New York. The registry was later renamed the Gilda Radner

Familial Ovarian Cancer Registry. In 1996, Gene Wilder and Registry founder Steven Piver, one of Radner’s medical consultants, published Gilda’s Disease: Sharing Personal Experiences and a Medical Perspec-tive on Ovarian Cancer. Through Wilder’s efforts and those of others, awareness of ovarian cancer and its symptoms has continued to grow.

In 1991, Gilda’s Club, a network of affiliate clubhouses where people living with cancer, their friends and families, can meet to learn how to live with cancer, was founded. The center was named for a quip from Radner, who said, “Having cancer gave me membership in an elite club I’d rather not belong to.” Many Gilda’s Clubs have opened across the United States and in Canada.

In 2002, the ABC television network aired a television movie about her life: Gilda Radner: It’s Always Some-thing, starring Jami Gertz as Radner.

The media attention in the two years after Radner’s death led to the registry of 450 families with familial ovarian cancer,

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The first Second City show I saw, I remember going up to the stage afterwards and sort of just touching the stage and thinking ‘Oh my gosh, Gilda Radner performed on this stage.’

— Tina Fey

Influence

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I always wanted a happy ending...

Now I’ve learned, the hard way, that some

poems don’t rhyme, and some stories don’t

have a clear beginning, middle and end.

Life is about not knowing, having to change,

taking the moment and making the best of it

without knowing what’s going to happen next.

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– Gilda Radner (1946 - 1989)

Delicious Ambiguity.

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References

Wilder, Gene. Kiss Me Like a Stranger. St. Martin’s Press: New York, NY. 2005

http://www.youtube.com/watch?v=64jfKo3vKtE

http://en.wikipedia.org/wiki/Gilda_Radner

© 2010 Limor Zisbrod

All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.

Limor Zisbrod is a Communication Design student at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. For informa-tion please contact Limor Zisbrod at 917-968-4100.

This book was set in Adobe Garamond Pro, Univers, and Cooper Black Swash Italic by the publisher and printed in the United State of America.

http://www.youtube.com/

watch?v=64jfKo3vKtE

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