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Andrews, Maxene, 1916 - 1995.

  • LC93074908
  • Pessoa singular
  • 1916-01-03 - 1995-10-21

Maxene Andrews was the middle of the three Andrews sisters, and usually sang the higher harmony part in the trio. She had a successful comeback as a cabaret singer in the late 1970s and toured regularly through the 1980s, even releasing a solo album in 1985. She died from a heart attack at the age of 79.

Murphy, Rose

  • LC95034322
  • Pessoa singular
  • 1913 - 1989-11-16

Berlin, Irving, 1888 - 1989.

  • LC50026116
  • Pessoa singular
  • 1888-05-11 - 1989-09-22

Israel Beilin, known as Irving Berlin, is widely regarded as one of the best and most prolific American composer-lyricists ever. Although born in Russia, his father brought the family to the US in 1893 to escape the widespread religious persecution in Russia during that period. The family, like many Jewish immigrants of the time, was extremely poor. Berlin worked to help support his family from the age of 8, hawking newspapers and singing for spare change. It was in those jobs that he learned what kind of music people wanted to hear and picked up the "ghetto" language and culture for which his work would become famous. As a teenager he began plugging songs at Tony Pastor's Music Hall, and in 1906 he was hired as a singing waiter at the Pelham Cafe. He apparently taught himself to play piano after hours by copying and improvising on popular songs.
After working as a song plugger for Harry Von Tilzer for several years, in 1911 Berlin finally wrote and published the song that would catapult him into the spotlight: "Alexander's Ragtime Band". He rode the song's popularity, writing a ragtime musical revue in 1914 called "Watch Your Step". It was his first complete musical score. He soon transitioned into writing a string of lyric ballads as well as hundreds of briefly popular topical songs. In 1919 Berlin made headlines again when he wrote "A Pretty Girl is Like a Melody" for Florenz Ziegfeld's "Follies of 1919"; the song would be used as the opening theme for every Follies after that, as well as the 1936 movie "The Great Ziegfeld".
Berlin felt strongly that even Tin Pan Alley should support the US during times of conflict; when the US entered World War I in 1917, he wrote the song "For Your Country and My Country" and, after being drafted that same year, created the revue "Yip Yip Yaphank" as part of the 152nd Depot Brigade. The revue would end up on Broadway the next year, with Berlin performing. One notable song that didn't make it into the revue, but that he would finally publish in 1938, was "God Bless America".
After the end of World War I, Berlin created the Music Box Theater with Sam Harris to help showcase his songs. Between the wars, he published a steady stream of what would become popular standards: "Always," "Blue Skies," "Puttin' on the Ritz," and "I've Got My Love to Keep Me Warm." He also headed several revues, including "As Thousands Cheer," which added "Heat Wave" and "Supper Time" to his growing list of standards. He also wrote scores and songs for major film musicals, including "Top Hat" (1935), "Alexander's Ragtime Band" (1938), "Holiday Inn" (1942), "Blue Skies" (1946) and "Easter Parade" (1948). "Holiday Inn," of course, was the vehicle for one of the best-selling songs of all time: "White Christmas," sung by Bing Crosby.
Berlin immediately returned to his patriotic writing after the attack on Pearl Harbor, creating another stage show called "This Is the Army." He supervised the 300-man production as it ran on Broadway and in Washington, DC, and then continued to travel with it overseas for over 3 years. He personally performed "Oh! How I Hate to Get Up in the Morning," originally written for "Yip Yip Yaphank," at nearly every show. He took no wages the entire time, and donated all the show's profits to the Army Emergency Relief Fund.
Almost immediately upon his return to the US, Berlin was approached by Rodger and Hammerstein to compose the music for their upcoming musical "Annie Get Your Gun"; Jerome Kern had been hired to write the score, but his sudden death left the pair stranded until Berlin reluctantly accepted. Despite his reluctance, "Annie Get Your Gun" includes some of Berlin's most famous Broadway songs: "There's No Business Like Show Business" and "Anything You Can Do." Berlin went on to write several more shows, the most successful of which was another Ethel Merman vehicle, "Call Me Madam." After writing "Mr. President" in 1962, Berlin officially renounced his retirement and stuck to it, very rarely appearing at public events and only writing one more new song, "An Old-Fashioned Wedding," for the Broadway revival of "Annie Get Your Gun" in 1966.
Berlin died in his sleep at the age of 101.

Armstrong, Louis, 1901 - 1971

  • LC50001506
  • Pessoa singular
  • 1901-08-04 - 1971-07-06

Louis Armstrong was an American trumpet player and is considered one of the most influential jazz musicians of all time. Born and raised in New Orleans, as a child Armstrong worked for a local Jewish family, the Karnoffskys; they encouraged his interest in music, and as an adult Armstrong often spoke and wrote about their generosity. The first instrument he learned to play was the cornet, imitating performances by ear and receiving only a little formal training. By the time he was an adult, he was playing both cornet and trumpet on the riverboats that traveled up and down the Mississippi. It was during those years that he learned to sightread music and use written arrangements rather than playing entirely from memory, although he continued to improvise as well.
Armstrong moved to Chicago in the early 1920s, becoming an integral part of the city's jazz scene and issuing his first recordings. He moved to New York briefly in 1924 to play trumpet with the Fletcher Henderson Orchestra before returning to Chicago. There he produced a series of recording with his "Hot Five" and "Hot Seven" (the Hot Five plus a drummer and a tuba). In 1929 he went back to New York to play in the all-black musical revue "Hot Chocolates". He spent much of the Great Depression touring both the United States and Europe before finally settling in New York.
Through the 1940s and '50s Armstrong recorded, toured, and acted almost continuously. He was an internationally recognized figure and traveled all over the world. In 1959 he suffered a heart attack, but he eventually recovered and in 1964 recorded the song "Hello, Dolly!". The song reached number one on the charts, displacing the Beatles for a time and making Armstrong the oldest person ever to have a number one hit. By the end of the 1960s, however, his failing health forced him to stop touring. He died of a heart attack barely a month before his 70th birthday.

Faye, Alice

  • LC50003081
  • Pessoa singular
  • 1915-05-05 - 1998-05-09

Astaire, Fred

  • LC50030703
  • Pessoa singular
  • 1899-05-10 - 1987-06-22

Frederick Austerlitz, Jr., also known as Fred Astaire, was an American dancer of stage and motion pictures who was best known for a number of highly successful musical comedy films in which he starred with Ginger Rogers. He is regarded by many as a pioneer in the serious presentation of dance on film and the greatest popular-music dancer of all time. Astaire entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele. After Adele retired to marry in 1932, Astaire headed to Hollywood and made a screen test, receiving an discouraging verdict from executives: “Can’t act, can’t sing. Balding. Can dance a little.” Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933) with Ginger Rogers. The two were a sensation, stealing the picture from stars Delores del Rio and Gene Raymond. Public demand compelled RKO to feature the pair in a classic series of starring vehicles throughout the 1930s, with The Gay Divorcee (1934), Top Hat (1935), and Swing Time (1936) often cited as the best of the lot. Although Astaire worked well with several leading ladies throughout his career, including Eleanor Powell, Rita Hayworth (whom Astaire cited as his favorite on-screen partner) and Lucille Bremer, his partnership with Rogers had a special chemistry.
Astaire retired temporarily in 1946, during which he opened Fred Astaire Dance Studios, but returned to the screen in 1948 and appeared in a series of Technicolor musicals for MGM that, next to his films with Rogers, constitute his most highly regarded body of work. Several of Astaire’s most-famous dance routines appear in these films, such as the slow-motion dance in Easter Parade (1948), which also featured Judy Garland; the dance with empty shoes in The Barkleys of Broadway (1949), which was his 10th and final film with Rogers; the ceiling dance and the duet with a hat rack in Royal Wedding (1951); and the dance on air in The Belle of New York (1952). The best of Astaire’s films during this period was The Band Wagon (1953), often cited as one of the greatest of film musicals; it featured Astaire’s memorable duet with Cyd Charisse to the song “Dancing in the Dark.”
Astaire’s run of classic MGM musicals ended with Silk Stockings (1957), after which his screen appearances were mostly in non-dancing character roles. He continued to dance with new partner Barrie Chase for several Emmy Award-winning television specials throughout the 1950s and ’60s, and he danced again on-screen in Finian’s Rainbow (1968) and for a few steps with Gene Kelly in That’s Entertainment, Part II (1976). He subsequently performed a number of straight dramatic roles in film and TV, most notably in On the Beach (1959); The Pleasure of His Company (1962); The Towering Inferno (1974), for which he received an Oscar nomination for best supporting actor; and Ghost Story (1981), his final film.
Astaire was awarded an honorary Academy Award for his contributions to film in 1950, and he received a Life Achievement Award from the American Film Institute in 1981. He revolutionized the movie musical by simplifying it: Solo dancers or couples were shot in full-figure, and dances were filmed with a minimum of edits and camera angles. He was also noted for his quintessentially American vocal style; although possessing a rather thin-toned tenor voice, Astaire received much praise from jazz critics for his innate sense of swing and his conversational way with a song. His best vocal recordings were those he undertook in the early 1950s with jazz combos led by pianist Oscar Peterson.
Fred Astaire passed away from pneumonia on June 22, 1987, in Los Angeles, CA, at the age of 88.

Garland, Judy

  • LC50015080
  • Pessoa singular
  • 1922-06-10

Riddle, Nelson

  • LC82009699
  • Pessoa singular
  • 1921-06-01

Como, Perry, 1912-2001

  • LC86869295
  • Pessoa singular
  • 1912-05-18 - 2001-05-12

Pierino Ronald Como, known professionally as Perry Como, was an American singer and television personality that dominated the early broadcast era. Como continually hosted a music variety show from 1948 to 1967. He was famous for his insistence on keeping the content of his shows clean, as well as his natural demeanor on and off screen.
Como was the first American-born child of Italian parents who immigrated to Canonburg, Pennsylvania in 1910. He didn't learn English until he started school, but quickly learned to play a variety of instruments including the organ, piano, trombone, and guitar. Ironically, he never had formal voice lessons. Beginning at the age of 10 Como trained to be a barber; by the time he was 14, he had his own shop. He was extremely popular around town because he would sing while he worked. A career as a musician was not what Como had in mind for his life, but in 1933 he was offered a job as the vocalist for a traveling dance band headed by Freddy Carlone. Despite the fact that he would make only a quarter of what he did as a barber, Como's father urged him to accept, and he did.
Como toured with Freddy Carlone for the next 3 years. He then received an offer to become a vocalist for the nationally renowned Ted Weems Orchestra, which he accepted at Carlone's insistence. The position came with a raise and a change of location to Chicago, although the band also toured regularly. It was with the Weems orchestra that Como did his first recording work. Despite his incredible success as a vocalist, in 1942 Como left the music business and returned to Pennsylvania so that he could spend more time with his wife and young child. Offers for radio and recording contracts followed him all the way there. Como was reluctant to take any but was convinced by his wife to accept an offer for a no-sponsored radio show and recording contract from CBS. He went live in March 1943; he began performing at the Copacabana Night Club later that year, and signed a recording contract with RCA. The live performances didn't last very long, but in 1944 he moved to NBC to front the sponsored radio musical variety program "Chesterfield Supper Club". He would also continue recording with RCA for the remainder of his career, an arrangement that proved to be so profitable for the label that it eventually stopped trying to tally how many Como hits had been sold.
In 1948, NBC decided to try something new: they simulcast "Chesterfield Supper Club" on both radio and television. The experiment proved successful, and Como became a television staple for the next 20 years. In 1950, his show moved to CBS and became the "Perry Como Chesterfield Show". In 1955 he returned to NBC, where he would remain for the next 12 years with "The Perry Como Show" (1955-59) and "Perry Como's Kraft Music Hall" (1959-67). In addition to his regular shows, Como recorded constantly. Nearly every year, from 1948 to 1994, he recorded an annual Christmas special for broadcast. When "Perry Como's Kraft Music Hall" went off air in 1967, Como began limiting his television appearances until his holiday specials were his only major broadcasts. He returned to radio in the 1990s, but for the most part he enjoyed his later life out of the public eye.
Como died a few days before his 89th birthday.

Coward, Noel, 1899-1973

  • LC79071142
  • Pessoa singular
  • 1899-12-16 - 1973-03-26

Noël Coward was an English playwright and composer who is best known in the United States for his plays, musical comedies, and operettas. His writing was famous for its sharp wit and often risque subject matter.
Born in southwest London, Coward got into acting as a young child. His first official performance was in "The Goldfish" at age 11. He continued acting onstage through World War I, and began writing his own plays as well. In 1921 Coward visited the United States for the first time and, although he failed to interest any serious producers in his work at that time, took a number of lessons away from his observations of Broadway. He achieved his first real success in 1924 with "The Vortex". For the rest of the 1920s Coward was writing and producing his plays, often acting in them as well, and also performing in others' works. He worked on both sides of the Atlantic, and the Great Depression did little to slow him. He wrote, performed, and added recording his songs to his repertoire as well. Some of his better-known works are "Fallen Angels", "Hay Fever", "Private Lives", the revue "On with the Dance", and the operetta "Bitter Sweet". Coward spent much of World War II touring and entertaining Allied troops.
Compared to his early career, Coward's post-war works were only moderately successful. He became better known for his cabaret act, performing in London and then in Las Vegas in 1954 and 1955. He also had parts in several movies. However, he achieved new prominence after a wave of revivals of his plays in the 1960s and '70s, as well as revues of his significant musical repertoire. Coward's image became synonymous with 20th century English theater, an association that amused him. He referred to his renewed popularity as "Dad's Renaissance."
Coward died of heart failure at the age of 73.

Dietrich, Marlene

  • LC50032559
  • Pessoa singular
  • 1901-12-27
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