Fade to Black: A Book of Movie Obituaries

by Paul Donnelley

  CAUSE: Marilyn was buried in Westwood Village Memorial Park, 1218 Glendon Avenue, Los Angeles 90024. Her death has been the subject of enormous speculation for many years and there seems to be no likelihood of it stopping in the near future. Was she murdered? Did she commit suicide? Did she die accidentally? Accounts vary according to who is talking. What is known is that according to the autopsy and death certificate Marilyn died of “acute barbiturate poisoning due to ingestion of overdose”. Among the many unanswered questions about her death was the issue of how Marilyn managed to swallow up to 40 Nembutals without having a glass in her room – anyway the water had been turned off at the mains for some decoration. According to biographer Donald Wolfe, Marilyn spent her last afternoon at her home, 12305 Fifth Helena Drive, Brentwood, in the presence of her PR Pat Newcomb and her housekeeper Eunice Murray plus her son-in-law Norman Jefferies. Marilyn and Newcomb had a fight and the PR was asked to leave. That afternoon at around 3.30pm Attorney General Bobby Kennedy arrived at the house with Peter Lawford and the actor told Murray and Jefferies to go to the market. They were gone for about an hour. Later between 9.30 and 10pm Kennedy returned with two men and ordered Murray and Jefferies out of the house. When they came back they found a naked Marilyn lying in a comatose state in the guest cottage, not the master bedroom. An ambulance was called but Marilyn died on the way to the hospital and was returned to her house, placed in bed and the cover-up began. However, that’s just one version of events. Another biographer, Donald Spoto, claims that Eunice Murray and Dr Ralph Greenson killed Marilyn by administering a barbiturate enema. Biographer Fred Lawrence Guiles postulates the suicide theory. Probably the most far-fetched theory comes from writer Robert Slatzer (who claims to have married Marilyn in Mexico on October 4, 1952, a day she was shopping in Los Angeles according to her cheque book) claimed in 1996 Marilyn was killed because she knew the truth about the Roswell Incident and was about to reveal all! Ho-hum. You pays your money …

  FURTHER READING: Marilyn Monroe – Maurice Zolotow (London: W.H. Allen, 1961); The Agony Of Marilyn Monroe – George Carpozi, Jr. (London: Consul Books, 1962); The Complete Films Of Marilyn Monroe – Mark Ricci & Michael Conway (Secausus: Citadel Press, 1964); Marilyn: The Tragic Venus – Edwin P. Hoyt (London: Robert Hale, 1965); Norma Jean: The Life Of Marilyn Monroe – Fred Lawrence Guiles (London: W.H. Allen, 1969); My Story – Marilyn Monroe (New York: Stein & Day, 1974); Marilyn – Joe Hembus (London: Tandem 1973); Marilyn Monroe: A Life On Film – David Robinson & John Kobal (London: Hamlyn, 1974); Marilyn Monroe – Joan Mellen (London: Star Books, 1975); Marilyn Monroe Confidential – Lena Pepitone and William Stadiem (London: Sidgwick & Jackson, 1979); Who Killed Marilyn? – Tony Sciacca (New York: Manor Books, 1976); Finding Marilyn: A Romance – David Conover (New York: Grossett & Dunlap, 1981); Marilyn Lives! – Joel Oppenheimer (London: Pipeline Books, 1981); The Last Sitting – Bert Stern (London: Black Cat, 1982); Marilyn Monroe: Murder Cover-Up – Milo Speriglio (Van Nuys: Seville Publishing, 1982); The Life And Curious Death Of Marilyn Monroe – Robert F. Slatzer (New York: Pinnacle Books, 1982); Monroe: Her Life In Pictures – James Spada with George Zeno (London: Sidgwick & Jackson, 1982); Marilyn Monroe – Janice Anderson (London: W.H. Smith, 1983); Marilyn On Marilyn – Roger G. Taylor (London: Comet, 1983); Norma Jeane: The Life And Death Of Marilyn Monroe – Fred Lawrence Guiles (London: Granada, 1985); Goddess: The Secret Lives Of Marilyn Monroe – Anthony B. Summers (London: Victor Gollancz, 1985); Marilyn Monroe: A Never-Ending Dream – Guus Luijters (London: Plexus, 1986); Marilyn Mon Amour – André de Dienes (London: Sidgwick & Jackson, 1986); Marilyn Monroe: A Life Of The Actress – Carl E. Rollyson, Jr. (Ann Arbor: UMI Research Press, 1986); The Making Of The Misfits – James Goode (New York: Limelight Editions, 1986); The Marilyn Conspiracy – Milo Speriglio with Steven Chain (London: Corgi, 1986); Requiem For Marilyn – Bernard of Hollywood (Bourne End: The Kensal Press, 1986); Marilyn Among Friends – Sam Shaw & Norman Rosten (London: Bloomsbury, 1987); The Unabridged Marilyn: Her Life From A–Z – Randall Riese & Neal Hitchens (New York: Congdon & Weed, 1987); Marilyn Monroe: An Appreciation – Eve Arnold (London: Hamish Hamilton, 1987); Marilyn At Twentieth Century-Fox – Lawrence Crown (London: Planet Books, 1987); Marilyn – Gloria Steinem & George Barris (London: Victor Gollancz, 1987); Conversations With Marilyn – W.J. Weatherby (London: Sphere, 1987); The Marilyn Scandal: Her True Life Revealed By Those Who Knew Her – Sandra Shevey (London: Sidgwick & Jackson, 1987); Joe And Marilyn: A Memory Of Love – Roger Kahn (London: Sidgwick & Jackson, 1987); Marilyn Monroe – Graham McCann (Cambridge: Polity Press, 1988); Marilyn: A Biography – Norman Mailer (London: Spring Books, 1988); Marilyn – Neil Sinyard (Leicester: Magna Books, 1989); Marilyn On Location – Bart Mills (London: Sidgwick & Jackson, 1989); Marilyn Monroe And The Camera – Lothar Schirmer (London: Bloomsbury, 1989); Marilyn: A Hollywood Life – Ann Lloyd (London: W.H. Smith, 1989); Marilyn: The Ultimate Look At The Legend – James R. Haspiel (London: Smith Gryphon, 1991); Marilyn Monroe In Her Own Words – Guus Luijters (London: Omnibus Press, 1991); The Birth Of Marilyn: The Lost Photographs Of Norma Jean By Joseph Jasgur – Jeannie Sakol (London: Sidgwick & Jackson, 1991); Marilyn And Me – Susan Strasberg (London: Doubleday, 1992); Marilyn: The Last Take – Peter Harry Brown & Patte B. Barham (London: William Heinemann, 1992); Marilyn’s Men: The Private Life Of Marilyn Monroe – Jane Ellen Wayne (London: Robson Books, 1992); Marilyn Monroe: The Biography – Donald Spoto (London: Chatto & Windus, 1993); The Marilyn Files – Robert F. Slatzer (New York: SPI, 1992); Crypt 33: The Saga Of Marilyn Monroe: The Final Word – Adela Gregory & Milo Speriglio (New York: Birch Lane Press, 1993); Young Marilyn: Becoming The Legend – James R. Haspiel (London: Smith Gryphon, 1994); My Sister Marilyn: A Memoir Of Marilyn Monroe – Berniece Baker Miracle & Mona Rae Miracle (London: Weidenfeld & Nicolson, 1994); Milton’s Marilyn – James Kotsilibas-Davis & Joshua Greene (London: Schirmer Art Books, 1994); Marilyn: Her Life In Her Own Words – George Barris (London: Headline, 1995); The Prince, The Showgirl And Me – Colin Clark (London: HarperCollins, 1995); Marilyn’s Addresses – Michelle Finn (London: Smith Gryphon, 1995); Falling For Marilyn: The Lost Niagara Collection – Jock Carroll (London: Virgin, 1996); The Men Who Murdered Marilyn – Matthew Smith (London: Bloomsbury, 1996); The Ultimate Marilyn – Ernest W. Cunningham (Los Angeles: Renaissance Books, 1998); The Assassination Of Marilyn Monroe – Donald H. Wolfe (London: Little, Brown, 1998); Marilyn Monroe – Barbara Leaming (London: Weidenfeld & Nicolson, 1998); My Week With Marilyn – Colin Clark (London: HarperCollins, 2000); Marilyn Monroe – Paul Donnelley (Harpenden: PocketEssentials, 2000).

  Yves Montand

  (IVO LIVI)

  Born October 13, 1921

  Died November 9, 1991

  Gallic charmer. Yves Montand is seen as a great French lover when, in fact, he wasn’t French at all. He was born, after a 13-hour labour, in Monsummano Alto, Tuscany, Italy, the son of Jewish peasants. When Mussolini tightened his grip on power the family moved to Marseille. Montand became a music hall star of the Moulin Rouge when he was 19 thanks to the interest shown in his talent by Edith Piaf. Another lucky break came when Marcel Carné cast him in Les Portes De La Nuit (1946) as Jean Diego. He then appeared in L’Idole (1947) and Souvenirs Perdus (1950). On August 14, 1949, he met and, supposedly, fell in love with Simone Signoret and they married on December 22, 1951. She introduced him to extreme left-wing politics (he didn’t renounce communism until 1968) and her influential friends such as Jean-Paul Sartre and Françoise Sagan. Meanwhile, Montand’s star rose in France and he appeared in films such as Napoléon (1955) as Marshal Lefebvre, Marguerite De La Nuit (1955) as Monsieur Léon, Les Sorcières De Salem (1957) as John Proctor and La Legge (1958) as Matteo Brigante. In 1960 he set off to conquer Hollywood, starring with Marilyn Monroe in Let’s Make Love (1960) and appearing in a few other films before returning to France where he began to take an active role in politics. His final films were well received and included Jean De Florette (1986) as Cesar
Soubeyran and Manon De Sources, in which he reprised the same part.

  CAUSE: Montand died in Senlis, France, from a heart attack. He was 70.

  FURTHER READING: You See, I Haven’t Forgotten – Yves Montand with Hervé Hamon and Patrick Rotman (London: Chatto & Windus, 1992).

  Maria Montez

  (MARIA AFRICA ANTONIA GRACIA VIDAL DA SANTO SILAS)

  Born June 6, 1917

  Died September 7, 1951

  ‘The Queen of Technicolor’. Born in Barahona, Dominican Republic, where her father was a diplomat, she had nine siblings. After a stint on the stage the brunette Montez became a model in New York and then made her film début in The Invisible Woman (1940) as Marie. For someone who couldn’t sing, act or dance it is surprising her career lasted as long as it did. She was usually cast to add glamour to eastern adventure tales. Her films, mostly for Universal, included: Moonlight In Hawaii (1941) as Ilani, Boss Of Bullion City (1941) as Linda Calhoun, That Night In Rio (1941) as Inez, South Of Tahiti (1941) as Melahi, Bombay Clipper (1942) as Sonya Dietrich Landers, Mystery Of Marie Roget (1942) as Marie Roget, Arabian Nights (1942) as Sherazade, White Savage (1943) as Princess Tahia, Ali Baba And The Forty Thieves (1944) as Amara, Gypsy Wildcat (1944) as Carla, Cobra Woman (1944) as Tollea/Naja, Sudan (1945) as Naila, Tangier (1946) as Rita and Pirates Of Monterey (1947) as Marguerita. Towards the end of the Forties she began to suffer from a weight problem and began working in Europe. Aged 17 and living in Belfast where her father had been posted, she married soldier William McFeeters but the marriage quickly ended. On July 13, 1943 she married actor Jean-Pierre Aumont. Her daughter Tina Marquand (b. February 14, 1946, as Maria Christina Aumont) is also an actress.

  CAUSE: Montez liked to take very hot baths and it was during one of these she suffered a heart attack at home in Suresnes, near Paris. She was aged 34. She was buried in a Catholic ceremony four days after her death.

  Clayton Moore

  Born September 14, 1908

  Died December 28, 1999

  The Lone Ranger, always. Born in Chicago, Illinois, Moore was a circus performer and male model who entered movies in 1938 as a stunt man. He appeared in over 70 films most of them B-picture Westerns (two of which co-starred Jay Silverheels, who later played Tonto to Moore’s best-known role) but it was for his portrayal of that masked avenger of evil John Reid better known as The Lone Ranger that he became a hero to millions. With the stirring William Tell Overture and a hearty “Hi-ho, Silver – Away!” Moore first appeared on television on September 15, 1949 playing the role until 1952 when he was replaced by John Hart. Two years later, he was back for another three-year stint. He also appeared as the Ranger on the big screen twice (The Lone Ranger [1956] and The Lone Ranger And The Lost City Of Gold [1958]). Most actors don’t want to become typecast in one particular part, believing that it limits their working opportunities. Clayton Moore was precisely the opposite – he lived to be The Lone Ranger and would wear his costume at numerous personal appearances, striving to instil the Ranger’s code of beliefs in his young fans. However, it all ultimately went wrong for him. In 1980 the four-times married Moore was sued by a studio who wanted to make a new version of the story (The Legend Of The Lone Ranger [1981], starring the instantly forgettable Clinton Spillsbury) and didn’t want Moore to wear his mask in public. He responded by wearing wraparound sunglasses that looked like a mask and suing. After five years’ litigation and much public sympathy, he won the right to don the famous mask in public again. The Lone Ranger Rode Again!

  CAUSE: He died of a heart attack aged 91 in West Hills Hospital, 20 miles north-west of Los Angeles. His last request, to be buried in his white hat and black mask, was not honoured.

  Cleo Moore

  Born October 31, 1928

  Died October 25, 1973

  Blonde bombshell. Born in Baton Rouge, Louisiana, the blonde 37-22-36 Moore began working life as a model in 1948 and made her film début that year in Congo Bill (1948) as Lureen/Ruth Culver. She became known for appearing as the bad girl star of a series of low-budget flicks created by Hugo Haas, including Strange Fascination (1952), One Girl’s Confession (1953) as Mary Adams, Thy Neighbor’s Wife (1953), The Other Woman (1954) as Sherry, Bait (1954) as Peggy and Hit And Run (1957) as Julie. Her other films included This Side Of The Law (1950), Rio Grande Patrol (1950) as Peppie, Dynamite Pass (1950) as Lulu, Bright Leaf (1950) as Cousin Louise, Hunt The Man Down (1950) as Pat Sheldon, Women’s Prison (1955) and Over-Exposed (1956) as Lily Krenska alias Lila Crane. She was also rather good at creating publicity, embarking on stunts such as a public seven-minute kiss with a DJ and claiming to be running for Louisiana state Governor.

  CAUSE: She died in Inglewood, California, of a heart attack, six days before her 45th birthday.

  Dudley Moore, CBE

  Born Good Friday (April 19), 1935

  Died March 27, 2002

  ‘Sex Thimble’. Dudley Stuart John Moore was born in Charing Cross Hospital, London, the son of Jock Moore (b. Glasgow 1898 as John Havlin, d. 1971 of colon cancer), a taciturn, illegitimate Scots railwayman, and his wife, Ada Francis Hughes (b. 1900, d. London, October 16, 1981 of a stroke), a shorthand typist. A sister, Barbara, had been born in 1929. The new arrival was sickly and stunted, his left leg withered below the knee; “It looks like a sweet child’s,” he was later to say. Both feet were clubbed but the right one corrected itself naturally. Moore’s mother shrieked, “This isn’t my baby! This isn’t my baby!” when she held him for the first time. For much of the first seven years of his life Moore was in hospital, the only child in a ward full of badly wounded soldiers. The nursing staff were not very affectionate towards the small boy. In later years he was to recall that the only kindness shown to him was a goodnight kiss from a nurse. He commented, “In many ways my entire life is based on recapturing that single moment of affection.” Like many of small stature or who have physical disabilities 5́2½˝ Moore was bullied at school. The children at Dagenham County High School, the local grammar school a few hundred yards from where he lived, nicknamed him ‘Hopalong’. To escape their attentions he made them laugh. In 1954 he won a music scholarship to Magdalen College, Oxford. However, he hated his time there, feeling insecure socially and sexually. “I felt very ill-equipped. Everybody spoke so factually. I had the feeling I was in the presence of very superior beings. I felt they’d all had a classical education, were older and had done national service, which I hadn’t because of my leg. I felt very inferior.” At Magdalen he composed and conducted the scores for productions of Antony and Cleopatra and Aristophanes’ The Frogs. Following his graduation, Moore worked as a jobbing jazz pianist. In 1959 he made a record, Strictly For The Birds, with the future Beatles producer George Martin. In 1960 he was invited to join the Edinburgh revue show Beyond The Fringe alongside Peter Cook, Jonathan Miller and Alan Bennett. Peter Cook wrote the majority of the show (about 67 per cent according to Moore’s own estimate) with Alan Bennett and Jonathan Miller contributing the rest. Moore did not write any of it. The show opened on August 22, 1960 at Edinburgh’s Lyceum Theatre. Moore’s insecurity came raging to the top: “I felt totally constricted and overpowered. I was completely mute in front of these intellectual giants.” The show was a sensation, killing off the traditional theatrical revue and playing in the West End (Fortune Theatre, May 10, 1961) and on Broadway (John Golden Theater, October 1962). Its fans included the Queen, Harold Macmillan and John F. Kennedy. In retrospect Beyond The Fringe seems remarkably unbarbed, much more inclined to fantasy and nonsense. In fact, among the sharpest pieces was Moore’s parody of Peter Pears and Benjamin Britten in an ornate setting of Little Miss Muffet – one of those parodies which make it difficult to see the original in the same light ever again. Moore didn’t lose his virginity until he was 23 and it was during the run of Beyond The Fringe that Moore had his first encounter with fellatio. “In terms of oral sex, I never had anybody’s mouth around my knob until 1960. I was doing Beyond The Fringe in London and there was this girl with hu
ge tits I was just mad for, who one day came to the theatre and said: ‘Dudley, I want to suck your cock.’ Well, there I was 25 years old and never had it done to me … Of course I was never keen on doing it myself but one soon realises there are results from reciprocity.” Alan Bennett commented that Moore’s stage performance “was often merely a perfunctory interruption of the more prolonged and energetic performance going on in his dressing room”. When the show came to the end of its life the BBC hired Moore to star in his own show. During the final months of the run Moore had become close to Peter Cook and he insisted that Cook was hired along with him. Thus Not Only … But Also was born. The show began on January 9, 1965 and ran until May 13, 1970. The show contained many brilliant comedic moments including the Dud and Pete “Dagenham Dialogues” in which Cook played the stupid one who thought he knew what he was talking about, who set out to educate Moore, the even stupider one. Sometimes Cook would ad lib causing his partner to corpse. Two additional shows were also recorded in Australia featuring guest star Barry Humphries and broadcast on February 8 and 15, 1971. Cook and Moore were friendly off screen as well with Cook as the natural leader and Moore the natural disciple. “I followed him around like some sort of chihuahua,” Moore admitted later. When Cook and his then mistress fled her irate husband and sought refuge at Moore’s new home in the middle of the night, they were amazed to discover that it was a replica of Cook’s own house – down to the William Morris wallpaper. Cook said of his friend, “Dudley had gone from being a subservient little creep, a genial serf, to become an obstinate bastard who asserted himself.” Both men wanted to make the move into films but Cook caused a furious argument by excluding Moore from the writing of Bedazzled (1968), their first and best big-screen vehicle. The film was not a success. In 1969 he spoke to the press of his deep depressions and his loss of will to do anything at all for the first time. When Cook’s personal life ran into trouble, as it often did, he sought refuge on a five-year tour and in alcohol. Moore followed his partner. When the tour lurched to its end in California in he broke up the partnership, determined to stay on in Hollywood and have a further crack at the film industry. Moore stayed for 18 months but found no work. Back in England in Cook released Derek And Clive – a three-year-old private tape which gave the old Pete and Dud characters a scatological dimension. Moore was Derek and Cook Clive. Moore returned home and helped Cook to promote the album and make two more. They were poor imitations of the original. Cook became more and more cruel to his friend and the two split. Moore went back to Hollywood for another attempt at stardom. This time it would be third time lucky. He appeared in The Hound Of The Baskervilles (1978) as Doctor Watson and Mr Spiggot And Mrs Ada Holmes And Foul Play (1978) as Stanley Tibbets. In December 1978 George Segal walked out on the film 10 on its first day of filming. The director Blake Edwards knew Moore from psychoanalysis and immediately cast him in the role of George Webber, a libidinous middle-aged musician, opposite Julie Andrews and the gorgeous Bo Derek. Moore was not going to let this opportunity pass him by. On its release in 1979, the film made 1,000 per cent profit, and its star was voted “Sex Symbol of the Year” by the Hollywood Women’s Press Club. The Sex Thimble was born. But then another flop followed. Wholly Moses (1980) saw Moore in the dual role of Harvey and Herschel. He later said that it was the only thing in his career he really hated. Moore quickly made another film, Arthur (1981), which was a smash. Moore was nominated for a Best Actor Oscar, losing out to Henry Fonda for On Golden Pond. John Gielgud won the Best Supporting Actor Academy Award as Hobson, the butler of the spoiled, drunk, rich boy Arthur Bach, and Christopher Cross performed the winning theme song ‘Arthur’s Theme’ (‘Best That You Can Do’) which he co-wrote with Burt Bacharach, Carole Bayer Sager and Peter Allen. Moore and Gielgud further won the American critics’ Golden Globe Award. The film took $30 million at the box office within three months. Moore’s star blazed quickly and burned out just as quickly. Although he continued to make films they were mostly eminently forgettable. Who can now remember Six Weeks (1982, as Patrick Dalton, a tearful tale of a man and a woman brought together by her dying daughter), Romantic Comedy (1983, as Jason Carmichael, two writers of romantic comedies fall in love), Lovesick (1983, as Saul Benjamin, psychoanalyst falls for patient), Unfaithfully Yours (1984, as Claude Eastman, a middle-aged musician mistakenly thinks another musician is having an affair with his wife), Best Defense (1984, as Wylie Cooper, an American tank goes out of control in Kuwait), Micki + Maude (1984, as Rob Salinger, a television personality simultaneously gets his wife and girlfriend pregnant), Crazy People (1990, as Emery Leeson, ad-man goes mad, is committed, and enlists asylum inmates in brilliant ad campaign) or Blame It On The Bellboy (1992, as Melvyn Orton, an estate agent is mistaken for mafia hit-man)? He resorted to making Arthur 2: On The Rocks (1988) reprising his role as Arthur Bach. John Gielgud was recast which was distinctly odd because his character had died at the end of the first film. Towards the end of his life Moore suffered the same depression that had wrecked Peter Cook. His marriage (the fourth) to Nicole Rothschild lay in tatters, destroyed by claims and counter-claims of violence, promiscuity and hard-drug abuse. His fortune, much diminished, had in large part been spent by his wife. On March 21, 1994, they had a violent argument that resulted in Moore being arrested. Nicole was later to admit that she “was drunk as a skunk”. Moore was married four times. On June 14, 1968 at Hampstead Register Office, he married the actress Suzy Kendall (b. Belper, Derbyshire, 1944 as Frieda Harriet Harrison). The witnesses were Peter Cook and the novelist Pat Booth. The marriage was dissolved in Kingston, Surrey, on September 15, 1972 on the grounds of “irretrievable breakdown”. On September 20, 1975 in Las Vegas he married, as her second husband, the 5́ 4˝ actress Tuesday Weld (b. New York, August 27, 1943 as Susan Ker Weld). Tuesday Weld was actually born on a Friday but changed her name legally when she was 15. They had a son, Patrick Havlin, in February 1976 but separated in 1978 and were divorced in 1980. Between 1980 and 1988 he lived with the actress Susan Anton (b. Oak Glen, California, October 12, 1950) who was 10 inches taller than him but they did not make it legal. At the Little Church of the West in Las Vegas on February 21, 1988 he married 5́ 8˝ dyslexic model Brogan Lane (b. 1956 as Denise Lane). They divorced in September 1992. In 1983 or possibly 1984 he had chatted up the woman who was to become his fourth wife, the adopted, silicone-enhanced, 5́ 5˝ dyslexic Nicole Rothschild (b. California, February 1964), when she walked in front of his car as he waited at a set of traffic lights. They married on April 16, 1994 and their son, Nicholas Anthony, was born on June 28, 1995. Their relationship was torrid. Nicole who had had lesbian affairs in the past would make love to other women while Moore watched. Her ex-husband and his girlfriend were also in the house. Nicole would also hire $500-a-go prostitutes to dance scantily clad for her husband. He had also been involved with busty actress Anna Leroy in 1960, model Celia Hammond for a year in the early Sixties, actress Shirley Anne Field (b. Bolton, June 27, 1938), 5́ 8˝ March 1991 Penthouse Pet of the Month Sandi Korn (b. Westchester, New York, December 26, 1966), singer-songwriter Lynsey de Paul (b. Cricklewood, north London, June 11, 1948 as Lynsey Reuben) in 1972, 5́ 7˝ actress Candy Clark (b. Norman, Oklahoma, June 20, 1947 as Candace June Clark) plus numerous one-night stands. In June 2001 Moore was awarded the CBE in the Queen’s Birthday Honours List.