“Hart to Hart” star Stefanie Powers embodies the glamour of Hollywood. But she also epitomizes the enlightened activism of the concerned world citizen.

Her memorable film roles include “Experiment In Terror,” “The Interns,” “McClintock!,” “Die Die My Darling” and ‘Stagecoach.” In addition to “Hart to Hart,” she starred in “The Girl From U.N.C.L.E.” and “The Feather and Father Gang” TV series.

Powers was featured in many outstanding mini-series, such as “"Washington: Behind Closed Doors", "Deceptions", "Mistral's Daughter", "At Mother's Request", "Burden of Proof" and "Beryl Markham: A Shadow on the Sun", which she also produced.

In recent years, Powers has turned her attention to the stage, where she has starred in such productions as “Love Letters” (reuniting her with Robert Wagner) and the musical “Sunset Boulevard.” An evocative vocalist, Powers has recorded a CD, “On The Same Page.”

Powers presents her new one-woman show, “Hart of My Heart: A Musical Tribute to Lorenz Hart,” Saturday and Sunday, October 2 and 3, at the Rrazz Room in San Francisco’s Hotel Nikko (therrazzroom.com/10Artist/stefanie_p.html).

This will be followed by an engagement at Feinstein’s in New York, November 16-20 (www.feinsteinsattheregency.com) and possibly later in London and Las Vegas.

In addition to performing, Powers works tirelessly on behalf of the William Holden Wildlife Foundation (www.whwf.org). She co-founded the Foundation in 1982 as a public charity and, as president, continues the late, great actor’s conservation efforts. Its education center, serves 10,000 students per year. It is located near the Mt. Kenya Game Ranch, which Holden established in Africa.

Her memoir, “Stefanie Powers: One From The Hart,” will be issued by Simon & Schuster on November 2nd, her birthday. It’s the loveliest possibly gift for her countless fans. For the latest news on Stefanie Powers, visit www.stefaniepowersonline.com.

As caring as she is charismatic, Ms. Powers - star, actress, singer, animal preservationist, humanitarian - took time from her busy schedule to chat with Pop Culture Classics.

POP CULTURE CLASSICS:
Your current cabaret show is a tribute to Lorenz Hart?

STEFANIE POWERS:
It is. It’s all those wonderful songs we know and love.

PCC:
What do you find so magical about Hart’s writing?

POWERS:
Well, his words [Laughs]. I was brought up in a household where there was music constantly playing. And good music constantly playing. Those fabulous songs kind of peppered my life. The songs from the Great American Songbook. All the traveling musical shows we went to. Whenever we visited my mother’s family in New York, we always went to the theatre. And, growing up in the fifties, we certainly saw the best of the best. I suppose I have a particular attachment to that period in music, which, of course, was a watermark in the development of the arts in this country. And I guess that attachment made it very easy. David Galligan [the musical tribute’s director], who I think is rather familiar to people up in San Francisco, he’s come up and done some spectacular benefits for APLA and all sorts of organizations there and I came up to do one of those benefits. David is an enormously creative person and his lovely ideas have put together this show. It was a natural marriage, because of my association with Jonathan and Jennifer Hart, to call this show ‘Hart of My Heart.’

PCC:
In selecting the songs, was it just a matter of which ones most resonated with you?

POWERS:
Selecting the songs was an interesting process, because David and I began reading about Lorenz Hart. I then had to go away and spent the summer doing a production of ‘Sunset Boulevard,’ which completed engulfed me and inundated every cell in my body and brain. We remounted ‘Sunset Boulevard’ to make it into a much more intimate musical. And I hope very much that we will revisit this and maybe go out on tour with it next year. When I came back and went back to discussing this show, we really sort of put it together rather quickly. We had an embarrassment of riches, magnificent songs to choose from. We had great stories and anecdotes. So we tried to distill this enormous amount of material to some of our favorites. There were so many that were left out, but that would have made it a three-hour evening instead of a 60-minute show.

PCC:
Do you find that having honed the craft of acting, that has benefitted you as a singer?

POWERS:
I started my life as a dancer who could sing. And I danced with Jerome Robbins. And then, I went under contract to Columbia Pictures when I was 15 years old. And outside of a few stints doing some musicals on the John Kenley circuit, I didn’t go back to the musical theatre until the 1980s, when I did a musical in the West End, in London. And it rekindled my love of theatre and my love of musicals. And slowly, I began to find that the theatre was overtaking my life and my interest. In spite of the fact that I’m not perceived as a singer, singing has taken over a much greater place in my life than I ever imagined it would. So I suppose it’s all come full circle.

PCC:
And theatre is a different sort of satisfaction than you get from film or TV acting?

POWERS:
Yes. Acting on film, in television or cinema, it’s a director’s medium. The theatre is the actor’s forum. Of course, we have to have something to say and something to sing. So we’re dependent on lyricists and librettists. But it’s much more the home of the actor than being on film.

PCC:
Are a lot of people surprised by your musical talents?

POWERS:
Constantly. David Galligan, after I did a benefit for him, he bought me a T-shirt that said, ‘Who Knew?’

PCC:
I love your ‘On The Same Page” album and hearing your vocals on that was a revelation.

POWERS:
Oh, that’s sweet. Thank you. It was a kind of labor of love... with [renowned musicia] Page Cavanaugh.

PCC:
Who were some of the vocalists who impressed or influenced you as you were growing up?

POWERS:
Well, the jazz singers who were some of my favorites were Julie London, June Christie, the usual suspects. And in the theatre, Mary Martin and all of the extraordinary icons of the theatre that were written for by Rodgers & Hammerstein and Jule Styne. Thanks to some wonderful producers, who are no longer with us, we used to have an opportunity to get together as an industry for benefits and performances like the first ‘Night of a Hundred Stars’ that was done in New York. In one dressing room were Mary Martin, Carol Channing and Ethel Merman. And they had their doors open. It was like a party. Everyone was telling stories about the theatre. Everybody was walking in and introducing themselves. I tell you, it was the most extraordinary privilege for us young’uns at that time, to meet these icons. And, of course, they were our heroes. Who can forget Ethel Merman’s rendition of ‘Gypsy.’ Even if you never saw the show and heard the album, it’s unbelievable.

PCC:
What had drawn you into performing to begin with? Was it some of these larger-than-life performances you had experienced? Or were you born to do this?

POWERS:
I don’t know. I guess it just was in me.

PCC:
You mentioned the Columbia contract. Did the studios nurture young talent at that time?

POWERS:
The end of the star system. I was put under contract during the waning years of the star system. I think I was one of the last of their contract players. And in the first five years of their contract, they either employed me at Columbia or loaned me out to other studios. I was doing three movies in one year. I did 15 films in five years.

PCC:
And a wide variety.

POWERS:
A very wide variety.

PCC:
Working with all the great talents in those films, was that an education in itself?

POWERS:
Oh, of course. There was very much a mentoring system in those days. Joan Crawford used to write me notes, one of which I still have. She used to watch what I would do and, in this note, she says, ‘When you open the door at such-and-such a point, you look down. Don’t look down, because it looks as if you’re looking for your mark. Don’t look down unless you intend to look down.’ And she was absolutely right, of course. And my first husband was an actor also. And every once in awhile, I’d pick up the phone and it would be Jimmy Cagney on the other end, wanting to talk to him about something he’d seen him do.

PCC:
Was this Gary Lockwood?

POWERS:
Yes.

PCC:
How did he know Jimmy Cagney?

POWERS:
He didn’t. Cagney liked his work.

PCC:
You also worked with Tallulah Bankhead, another of the great actresses. Was she intimidating?

POWERS:
In the beginning, yes. But after a while, I guess I broke the ice and I knew her until she died. I saw her anytime and every time I was in New York. And I’d speak to her on the phone.

PCC:
And you also became friends with Helen Hayes.

POWERS:
Yes. I had worked with her son, Jimmy [James MacArthur of ‘Hawaii Five-O’ fame], before I worked with Helen. So I already had the entree to her. And she was such a lovely person. What a history she had.

PCC:
Did you see each project as another opportunity to grow and move yourself forward?

POWERS:
Yes, every experience is enlarging. We’re constantly learning and growing. And we do until the day we die... I hope. I hope we do.

PCC:
You gave a memorable performance in ‘Experiment in Terror.’ Did that generate a lot of attention at the time?

POWERS:
Well, yes, it sure did. That was San Francisco-based. I have a lot of attachments to San Francisco. We filmed ‘Experiment in Terror’ in San Francisco. That was primarily the film that launched my acting career. And then, when I wanted the studio to pay attention to me, I went to San Francisco to open a show called ‘Under The Yum Yum Tree,’ which ran at the On Broadway Theatre on Broadway for six years. It was an unusual theatre, because it was a cabaret theatre. They had a bar in the lobby. People could bring their drinks into the theatre. It was small, something like 200 seats. And because of the liquor laws in San Francisco, which were very strict in those days, I had to be in the theatre before the bar was unlocked. So I spent endless hours backstage. And I had to wait until they closed and locked the bar, because there was no stage door entrance. I had to walk through the lobby where the bar was. And they didn’t want to take any chances that they’d be shut down by the authorities. What an ordeal! [Laughs].

PCC:
You did a lot of iconic TV shows, like ‘Route 66.’ Did you see those as building blocks?

POWERS:
No, I think at the time, I was just trying to stay employed.

PCC:
Guesting on ‘It Takes A Thief’ with Robert Wagner, did you have an inkling that might be a precursor of something special?

POWERS:
No, I never looked at it in those terms. You just do the job that you’re hired to do. But R.J. was wonderful to work with, great to get along with. He was adorable, as he continues to be. But so was Jimmy Garner and so was Peter Lawford. Peter and I did the pilot for a television show together called ‘Ellery Queen,’ which didn’t sell, unfortunately, but God, we had wonderful chemistry. It happens rarely, but when it does, it makes the whole process so easy.

PCC:
So would ‘Ellery Queen’ have been along the lines of ‘Hart to Hart,’ a combination of romance, comedy and mystery?

POWERS:
Well, it was about an investigator. But I was, I guess, going to be his girlfriend or his love interest, who got involved with his investigations. He was a legitimate detective.

PCC:
You were more the action figure in ‘The Girl From U.N.C.L.E.’

POWERS:
Yeah [Laughs].

PCC:
That must have been a fun series to shoot.

POWERS:
Well, it was pretty unusual. You know, ‘The Man From U.N.C.L.E’ had been on for, I think, a couple of years before we got on the air. I think they were only on for three years. I’m not sure. We only did one year. But, having said that, we did 26 episodes in one year.

PCC:
And both shows developed cult followings.

POWERS:
Yes, but ours was a lot more like pop art. The plot lines were hilarious. And we had the most astonishing array of guest stars. In the show called ‘The Mother Muffin Affair,’ Boris Karloff appeared in drag. He played woman. Ann Sothern and Stan Freberg were in one. She was the baddie. And she tortured us by putting us into a giant toaster and popping us out of it. [Laughs]. It was hilarious.

PCC:
And, like David McCallum, Noel Harrison became something of a teen idol. Was that kind of crazy to be around?

POWERS:
We were kind of insulated from it, at the studio. When you’re working 14 hours a day, you don’t really get a sense of its magnitude or its impact on the public, because you’re not out there [Laughs]. You’re on a sound stage all day.

PCC:
And later you played the daughter of John Wayne and Maureen O’Hara in ‘McClintock.’ Quite a pair of parents.

POWERS:
Well, I’ll say.

PCC:
And what were they like to work with?

POWERS:
Oh, just fabulous! If anybody could have had the dream of doing a western movie, who else would you have wanted to do it with, but John Wayne? Even Katherine Hepburn said that. They did ‘’Rooster Cogburn’ together.

PCC:
And in ‘Stagecoach,’ you worked with Bing Crosby.

POWERS:
Bing knew my stepfather, because Bing was a great racehorse fan. And we used to sit on the set and look at Bloodstock Magazine all day.

PCC:
So your fascination with animals goes way back?

POWERS:
Oh, yes. My stepfather had a breeding farm. And, at the time, Hollywood Park, the racetrack, had a centerfield that was a kind of a garden with a goose girl who was dressed in a kind of Dutch costume. And she would lead geese. It was very funny. But they had also like a mini touching zoo. And there were some animals in cages. Also there were exotic birds, peacocks, as well as flying chickens, and goats and monkeys. And when they decided to close down this botanical garden in the middle of the racetrack, Jack [her stepfather] got all the animals. So we had a little zoo going on at the ranch. And that was my first association with wild animals. And certainly, I was besotted with horses. And I still am. I’ve got quite a few horses. And they live long and happy lives.

PCC:
When the success of “Hart To Hart” came, did you take it in stride or was it overwhelming?

POWERS:
Well, once again, we didn’t know about it. We were insulated. The world of celebrities and the world of entertainment and entertainment news has changed. Anybody on anything that’s successful, whether it’s a television show or in a film, their private life, their personal life, becomes so inflated and inundated with attention. As recently as the success of ‘Hart To Hart,’ we didn’t have that kind of personal invasion. That’s a recent phenomenon. And I think a great deal of it is perpetrated by the fact that there’s so many news hours to fill. So all of the people who are famous for being famous suddenly garner attention and make fortunes out of being paid to go to a restaurant, because they’re going to be an attraction for the paparazzi. Certainly there are many actors who are very successful in our business who do not create circuses out of their lives. Calista Flockhart and Harrison Ford got married, they live their lives. They’re not constantly on the covers of magazines. They lead very discreet lives and they work very hard and they do their jobs and go home. That doesn’t diminish their talent. And they still have a very nice life. I don’t think they’ve ever conducted themselves in a way that attracts scandal or attracts press. And yet they don’t seem to hide. But they just don’t create a life that is fodder for that sort of machinery.

PCC:
You were able to handle the whole celebrity situation with grace.

POWERS:
Well, I wasn’t here [Laughs]. I was in Africa.

PCC:
‘Hart To Hart’ is still so appealing, very popular on DVD. Why does it have that timelessness?

POWERS:
Gosh, I wish I knew the formula. I think people want to be entertained. Most people I know are so tired of the rubbish that fills our entertainment hours on television, the reality - I call them the non-reality shows - they’re so badly acted. You know damn well that these people are given plot lines to deal with. They’re anything but real. And it’s just embarrassing most of the time. Most of those shows are disgusting. When you look at Jerry Springer, you know absolutely that those people have been given something. They’ve been taught how to behave when they walk out. And you may as well be watching wrestling.

PCC:
Actually, wrestling probably has more honor to it.

POWERS:
It probably does, because those people are physically fit and they have a great deal of training to do those extraordinary moves. I thought that the human condition was supposed to evolve. The people on those so-called reality shows behave like neanderthals. And that’s supposed to be entertaining.

PCC:
‘Hart To Hart’ was genuinely entertaining. Was the chemistry between you and Robert Wagner instantaneous?

POWERS:
It was pretty instantaneous. Tom Mankiewicz, who took Sidney Sheldon’s original idea and embellished upon it and created Jonathan and Jennifer and the dog and Max, he turned to the producer after the first scene that we shot on ‘Hart To Hart,’ which was me opening a window, crawling into a room from outside. I was wearing a jumpsuit, I stood up, the camera saw me unzip the jumpsuit and take it off my shoulders and then it cut to my feet, where the jumpsuit dropped. I stepped out of it and it followed my legs as they got into the bed and moved over and cuddled up next to Robert Wagner and we said a few lines of dialogue and kissed. And Mankiewicz said, ‘Cut! They’re a couple.’ And it was a bit awkward, because standing behind the camera was also Natalie Wood and her daughter with R.J., who was like four years old at the time [Laughs].

PCC:
I saw, in a Natalie Wood biography, a photo showing you and Natalie and Jill St. John as youngsters...

POWERS:
We were all in the same ballet class. They left and I stayed.

PCC:
I also remember the episode of ‘Owen Marshall’ you did with Rick Nelson.

POWERS:
Oh, my God, I’d completely forgotten all about that. Ricky and the Nelsons lived up the street from us. And my brother went to school with Ricky. And my brother was three years older than I. It was such a small town in those days. Everybody knew each other. So when you went to work, you were always working with people you knew... or had something to do with. Life has changed so much. The population has probably quadrupled since I did ‘Owen Marshall.’ And so has the industry. It’s just so fractured, you hardly know anybody when you go to work. But I would go from job to job and it was like walking back into your family, because you’d see this electrician who you’d worked with, that camera person that you’d known all your life. It was really our industry.

PCC:
But it became more fractured and more corporate.

POWERS:
The corporations changed it. The corporations decided that they could run any industry. It didn’t matter what they made, whether they made widgets or rubber tires or motion pictures - it was all going to be run the same way.

PCC:
So was that one of the reasons you decided to focus more on theatre?

POWERS:
Well, with the ever increasing alienation from the business as it used to be, I found a much greater feeling of craft and community in the theatre.

PCC:
William Holden, what exactly was the impact he had on you, in terms of the passion for animal preservation?

POWERS:
Well, I already had the passion for the animals. I had been to North Africa. I had never been to East Africa. When I went to East Africa, I already had rescued a Malaysian bear from a pet shop in West Hollywood. They were selling a Malaysian sun bear, which was illegal to have in the shop. I was so adamant about it and they said, ‘Well, if you feel so strongly, why don’t you buy it?’ And I said, ‘All right!’ And I did. I eventually took the bear and moved to Malibu, which was unincorporated in the city of Los Angeles, and built a huge compound for him. I had four acres in the hills of Malibu, where there were no houses and lots of fire trails. And I could walk my dogs and my bear, happily in the hills. As a result of that, I met all the veterinarians and all the people dealing with wildlife. And all the people that kept and protected wild animals. So I was already very much involved in the care and maintenance and protection of wild animals. I’d always rescued whatever fell out of a a tree, you know [Laughs}. So that was not so far afield for me. So when I went with Bill to Kenya for the first time, we immediately went out to the bush to an operation that he and his partners had, which was an ongoing rescue operation, to translocate a very rare, indigenous subspecies of zebra called the Grevy’s Zebra. It’s only found in Kenya, formally found in Southern Sudan and Southern Ethiopia and Somalia, but they’ve killed them. They’ve shot them. They’ve eliminated them. There’s only some remnant groups that were found in the northern parts of Kenya. They were being poached out of existence. So there was a huge effort placed on Bill and his partner, who had already established a game ranch, which was the first of its kind in East Africa, and they had a very successful capture unit, run by Bill’s partner, Don Hunt. So the idea was that they would capture as many Grevy’s Zebras as possible and drive them down to the southern part of Kenya, where there is a relationship, on both sides of the border, between two national parks, one on the Tanzanian side and one on the Kenyan side, because of Billy Woodley, who was the game warden at Savo National Park. And he was going to receive the Grevy and hopefully help to protect this highly endangered species. And that effort went on for a period of about three years. So we were constantly out, capturing zebra. And I was already in love with Bill, so it was really easy to be in love with everything he did.

PCC:
With so many facets to your life, do you still find it imperative to make the Wildlife Foundation a priority?

POWERS:
Oh it’s a large part of my life. Balancing everything is a bit like brushing your teeth. You sort of do the uppers and then do the lowers and get them all in. A natural part of the day is trying to uphold the programs that we have there and some of the other involvements that I have in and around that work. I created, for Jaguar motor company, the Jaguar Conservation Trust, which I was allowed to operate for five years, until Jaguar and Ford put Jaguar up for sale. And during the period of time that Jaguar was being shopped around, they suspended the operations of the Jaguar Conservation Trust. And I am now in a dialogue with the Tata motor company in India, who are the new owners of Jaguar, to try to reestablish the work of the Jaguar Conservation Trust. But, as you now, we are in a recession and we’ve had a financial crisis. So the notion that we could fund it through the Jaguar customers, all of those I’ve spoken with, responded to this idea immediately and generously, the next step was going to be to form a 501C3 public charity that would come through my offices and we would be able to fund without the need of corporate funding, but under the umbrella of the corporation and through the dealerships. But the depths of our current financial situation have not yet been established and certainly our rise from the muck is going to be a great deal slower than people hope.

PCC:
Even beyond the world economic crises, with looming Global Warming effects, are you hopeful we can prevent future extinction of many species?

POWERS:
I tell you what would make me a great deal more hopeful, is if I could see the youth of America do something other than Twitter and spend time exercising their fingers on their cell phones. I am so disappointed in what happened to the young people in this country, who are so patently neglectful of anything but their own tiny worlds that surround ‘me’ and their Facebook friends and their superficial self-involvement. I come from that generation that marched in the streets to stop the war, that marched in the streets to prevent nuclear power plants being built on the San Andreas fault, people who were activists, people who wanted to see changes in this country, changes in the environment, changes in our environmental protection. What happened? The ball got dropped so deliberately by the young people in this country. They’re not interested at all.

PCC:
Yes, it’s discouraging.

POWERS:
It’s very discouraging. Who’s supposed to pick up the mantle? Who talks about it? Where do you see them talking about anything but Paris Hilton? These are the icons. This is what’s going to down in history as the demonstrations of this generation.

PCC:
It goes back to what you were saying about reality TV. Sadly, these are today’s role models.

POWERS:
That’s who they are. They’re the daughters who do nothing but paint their toenails, the Kardashians. Please! Maybe ‘Sex and the City’ really wasn’t a very good influence on young women, because it sure produced some pretty silly girls.

PCC:
It’s all about the shoes.

POWERS:
All about shoes. Wouldn’t it be lovely if we weren’t so completely absorbed by buying a $500 shoe?

PCC:
Having a healthier perspective, do you think that’s partly due to your extensive world travels?

POWERS:
I think I was brought up that way, to be involved, to be committed to something and see it through. Our work in Kenya, it’s a lifetime commitment. I didn’t do that just so I could get on the cover of a magazine. And we’ve been doing it a long time.

PCC:
Your perpetual youthfulness, can that be attributed to your passionate commitments and your ongoing curiosity?

POWERS:
Well, I can only thank my mother for that [Laughs]. I can’t take any credit for that. Pretty good genes.

PCC:
You’ve made fitness videos. Obviously you adhere to those sorts of regimens.

POWERS:
Well, yes, fitness is an essential part of life. We can’t carry on doing what we’re doing in Kenya, in Central and Southern America with jaguars and trying to preserve the last remnants of Asiatic lions in India, if I can’t be nimble enough to jump around in some of those outback areas.

PCC:
I really like that quote on your web site: ‘When the make-up comes off, you still have to go home and face your life. Make sure it is as satisfying as the one you left at the dressing table.’

POWERS:
Well, I think somebody told me that. Somebody said when the make-up comes off, you better be sure that the person you’re looking at in the mirror is the person you want to see... because that’s who you have to go home with.

PCC:
But a lot of people get detoured and get so fixated on career that they forget the rest of life.

POWERS:
I think that that period of ‘The Bonfire of the Vanities’ put people in this country on such a short track. A fast and short track. Immediate gratification, short-term gains, were all that anybody could cope with. Any thoughts or plans in the long term, over the long haul, or any any notion like fine wine, anything worth having was worth working for, all of that left our lexicon. It left our emotional and intellectual lexicon. And now we’re paying the price for it. And I don’t think we can stress the lesson loudly enough. It’s still going to fall on deaf ears, because people just don’t get it. And I don’t know what has to happen, whether a building actually has to fall on people before they wake up. There’s a huge prices to pay for this. And here today, gone tomorrow is the way we’re living. We can’t even count the rise and fall of the instantly made celebrities, instantly made stars. Where are they? Who are they? Where have they gone? The pile of ashes is so high, we don’t even remember their names. We’re so instantaneously replaceable. It’s like a Kleenex tissue box. Everybody keeps pulling out another tissue and throwing the rest away.

PCC:
But you’ve had longevity, maintaining popularity with the public.

POWERS:
Well, that’s just a blessing. I’m very grateful for that. Maybe it’s just that I’m maintaining some attachment to people who feel the same way I do, who were not people who were just looking for the next quick fix. And I think that when we are attached to something that meant something to us in the past, it is the evidence of our own existence [Chuckles]. And a thread that we’re not just living in the present. There’ so much emphasis on ‘Oh, live for the now! Live for the present!’ We forget that the lessons of history are what we learn from. It’s what we are. We are a compilation of our genetic, inherited traits and our lessons learned and our history. Aren’t the best friends we have the people we have a history with? Isn’t it great to get together with people with whom you shared something, whether it was a vacation or whatever it was? It’s time put in. And the rewards of that. It’s not just the next instant mashed potatoes relationship that’s as ephemeral as what it’s based on. And I think people want something a little more to hold onto.

PCC:
Yes and yet we’re constantly being told to live in the moment.

POWERS:
I think that some of that was said to people who, at the time, were living too much in the long term. But there’s a happy medium [Laughs]. But not everyone has swung back to that happy medium yet. And we’ve exaggerated this other for such a long time that we’re now losing the sense that the previous existed at all.

PCC:
It’s always difficult to find the happy medium.

POWERS:
Yeah, but it’s worth working for.

PCC:
With all that you’ve achieved, in so many areas, is there another great goal you’re yearning to accomplish?

POWERS:
I’ve never really looked at life from its achievements point of view. I’ve always looked at it in terms of the next challenge. I suppose that’s one of the reasons that I’ve never rested on its laurels. It’s very nice of you to say I’ve had a lot of achievements. I’ve been fortunate. I’ve had some fabulous experiences. And I continually look forward to the next one.