Name	Rosemary Clooney
Background	solo_singer
Born	May 23, 1928Maysville, Kentucky, U.S.
Died	June 29, 2002Beverly Hills, California, U.S.
Genre	Traditional pop, vocal jazz
Years active	1946–2001
Occupation	Singer, Actress
Spouse	[Jose Ferrer] (1953–1961; 1964–1967), [Dante DiPaolo] (1997–2002, her death)
Label	ColumbiaMGMCoralRCA VictorRepriseDotUnited ArtistsConcord Jazz
Url	Rosemary Clooney Palladium website

Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She came to prominence in the early 1950s with the novelty hit "Come On-a My House" written by William Saroyan and his cousin Ross Bagdasarian (David Seville), which was followed by other pop numbers such as "Botch-a-Me" (a cover version of the Italian song Ba-Ba-Baciami Piccina by Alberto Rabagliati), "Mambo Italiano", "Tenderly", "Half as Much", "Hey There" and "This Ole House", though she would go on to success as a jazz vocalist.

Clooney's career languished in the 1960s, partly due to problems related to depression and drug addiction, but revived in 1974, when her White Christmas co-star Bing Crosby asked her to appear with him at a show marking his 50th anniversary in show business. She continued recording until her death in 2002.

Biography

Early life

Clooney was born in Maysville, Kentucky, to Andrew Joseph Clooney and Frances Marie Guilfoyle, both of whom were Roman Catholics of Irish and German ancestry. When Clooney was fifteen, her mother and brother, Nick, moved to California. She and her sister, Betty, remained with their father.

Rosemary, Betty and Nick all became entertainers. In the next generation, some of her own children, including Miguel Ferrer and Rafael Ferrer, and her nephew, George Clooney, also became respected entertainers. In 1945, the Clooney sisters won a spot on Cincinnati, Ohio's radio station WLW as singers. Her sister Betty sang in a duo with Clooney for much of her early career.

Career

Clooney's first recordings, in May 1946, were for Columbia Records. She sang with Tony Pastor's big band. Clooney continued working with the Pastor band until 1949, making her last recording with the band in May of that year and her first as a solo artist a month later, still for Columbia.

In 1951, her record of "Come On-a My House", produced by Mitch Miller, became a hit. It was her first of many singles to hit the charts—despite the fact that Clooney hated the song passionately. She had been told by Columbia Records to record the song, and that she would be in violation of her contract if she did not do so.

Around 1952, Rosemary recorded several duets with Marlene Dietrich.

In 1954, she starred, along with Bing Crosby, Danny Kaye, and Vera-Ellen, in the movie White Christmas. In later years, Clooney would often appear with Crosby on television, such as in the 1957 special The Edsel Show, and the two friends made a concert tour of Ireland together. On November 21, 1957, she appeared on NBC's The Ford Show, Starring Tennessee Ernie Ford, a frequent entry in the "Top 20" and featuring a musical group called "The Top Twenty." In 1960, Clooney and Crosby co-starred in a 20-minute CBS radio program aired before the midday news each weekday.

She starred, in 1956, in a half-hour syndicated television musical-variety show The Rosemary Clooney Show. The show featured The Hi-Lo's singing group and Nelson Riddle's orchestra. The following year, the show moved to NBC prime time as The Lux Show Starring Rosemary Clooney but only lasted one season. The new show featured the singing group The Modernaires and Frank DeVol's orchestra.

Clooney left Columbia Records in 1958, doing a number of recordings for MGM Records and then some for Coral Records. Finally, toward the end of 1958, she signed with RCA Victor Records, where she stayed until 1963. In 1964, she went to Reprise Records, and in 1965 to Dot Records. She moved to United Artists Records in 1966.

Beginning in 1977, she recorded an album a year for the Concord Jazz record label, which continued until her death. This was in contrast to most of her generation of singers who had long since stopped recording regularly by then.

In the late-1970s and early-1980s, Clooney did television commercials for Coronet brand paper towels, during which she sang a memorable jingle that goes, "Extra value is what you get, when you buy Coro-net." James Belushi later parodied Clooney and the commercial while as a cast member on NBC's Saturday Night Live in the early 1980s.

Clooney sang a duet with Wild Man Fischer on "It's a Hard Business" in 1986, and in 1994 she sang a duet of Green Eyes with Barry Manilow in his 1994 album, Singin' with the Big Bands.

She guest-starred in the NBC television medical drama ER (starring her nephew, George Clooney) in 1995; she received a Primetime Emmy Award nomination for Outstanding Guest Actress in a Drama Series.

On January 27, 1996, Clooney appeared on Garrison Keillor's Prairie Home Companion radio program. She sang When October Goes -- lyrics by Johnny Mercer and music by Barry Manilow (after Mercer's death) -- from Manilow's 1984 album , and discussed what an excellent musician Manilow was.

In 1999, Clooney founded the Rosemary Clooney Music Festival, held annually in Maysville, her hometown. She performed at the festival every year until her death. Proceeds benefit the restoration of the Russell Theater in Maysville, where Clooney's first film, The Stars are Singing, premiered in 1953.

She received the Grammy Lifetime Achievement Award in 2002.

Personal life

Clooney suffered for much of her life from bipolar disorder. She revealed this and other details of her life in her two autobiographies.

Clooney was married twice to the movie star José Ferrer who was sixteen years her senior. They were first married from 1953 until 1961 and, despite his open infidelities, again from 1964 to 1967. They had five children: actor Miguel Ferrer (b. 1955), Maria Ferrer (b. 1956), Gabriel Ferrer (b. 1957) (who married singer Debby Boone), Monsita Ferrer (b. 1958), and Rafael Ferrer (b. 1960).

In 1968, her relationship with a young drummer ended after two years, and she became increasingly dependent on pills after a punishing tour.

She joined the presidential campaign of close friend Bobby Kennedy, and was standing only a few yards away from him at The Ambassador Hotel in Los Angeles, California, when he was assassinated on June 5, 1968. Her sister Betty died suddenly of a brain aneurysm in 1976. She subsequently started a foundation in memory of and named for her sister. During this time she wrote her first autobiography, This for Remembrance: the Autobiography of Rosemary Clooney, an Irish-American Singer, written in collaboration with Raymond Strait and published by Playboy Press in 1977. She chronicled her unhappy early life, her career as a singer, her marriage to Ferrer and mental health problems, concluding with her comeback as a singer and her happiness. Her good friend Bing Crosby wrote the introduction. Katherine Coker adapted the book for Jackie Cooper who produced and directed the television movie, Rosie: the Rosemary Clooney Story (1982) starring Sondra Locke (who lip syncs Clooney's songs), Penelope Milford as Betty and Tony Orlando who plays Jose Ferrer.

Living primarily in Beverly Hills, California, for many years, in 1980, she purchased a second home on Riverside Drive in Augusta, Kentucky, near Maysville, her childhood hometown. In 1983, Rosemary and her brother Nick co-chaired the Betty Clooney Foundation for the Brain-Injured, addressing the needs of survivors of cognitive disabilities caused by strokes, tumors and brain damage from trauma or age.

In 1999 Clooney published her second autobiography, Girl Singer: An Autobiography describing her battles with addiction to prescription drugs for depression, lost and then regained a fortune. "I'd call myself a sweet singer with a big band sensibility," she wrote.

Today, the Augusta house offers viewing of collections of her personal items and from many of her films and singing performances.

She married her longtime friend, a former dancer, Dante DiPaolo in 1997 at St. Patrick's Church in Maysville, Kentucky.

Clooney was diagnosed with lung cancer at the end of 2001. Around this time, she gave her last concert, in Hawaii, backed by the Honolulu Symphony Pops; her last song was "God Bless America". Despite surgery, she died six months later on June 29, 2002, at her Beverly Hills home. Her nephew, George Clooney, was a pallbearer at her funeral, which was attended by numerous stars, including Al Pacino. She is buried at Saint Patrick's Cemetery, Maysville.

In 2003 Rosemary Clooney was inducted into the Kentucky Women Remembered exhibit, and her portrait by Alison Lyne is on permanent display in the Kentucky State Capitol's rotunda.

In September 2007 a mural honoring moments from her life was painted in downtown Maysville. The mural highlights her life long friendship with Blanche Chambers, the 1953 premier of The Stars are Singing and her singing career. It was painted by Louisiana muralists Robert Dafford, Herb Roe and Brett Chigoy as part of the Maysville Floodwall Murals project. Her brother Nick Clooney spoke during the dedication for the mural, explaining various images to the crowd.

Discography

Filmography

Tony Pastor and His Orchestra (1947) (short subject)

Slaughter Trail (1951)

The Stars Are Singing (1953)

Here Come the Girls (1953)

Red Garters (1954)

White Christmas (1954)

Deep in My Heart (1954; cameo appearance)

Radioland Murders (1994)

ER (1994)

Marlene Dietrich: Her Own Song (2002) (documentary)

See also

Rosemary Clooney Museum; Augusta, Kentucky

References

External links

Rosemary Clooney Palladium page

Clooney Discography

Biography on musicianguide.com

Fancy Meeting You Here" by Gilbert L. Gigliotti">"Elvis Bows, Bing Just Nods: High and Low Culture in Fancy Meeting You Here" by Gilbert L. Gigliotti

Category:1928 births Category:2002 deaths Category:American Roman Catholics Category:American female singers Category:American pop singers Category:Cabaret singers Category:Cancer deaths in California Category:Deaths from lung cancer Category:Decca Records artists Category:American musicians of German descent Category:Grammy Lifetime Achievement Award winners Category:American musicians of Irish descent Category:American people of German descent Category:American people of Irish descent Category:MGM Records artists Category:Musicians from Kentucky Category:Kentucky Democrats Category:California Democrats Category:People from Mason County, Kentucky Category:People with bipolar disorder Category:Torch singers Category:Traditional pop music singers Category:RCA Victor artists Category:Concord Records artists Category:Actors from Kentucky Category:History of women in Kentucky

Name	Benny Goodman
Landscape	Yes
Background	non_vocal_instrumentalist
Birth name	Benjamin David Goodman
Alias	"King of Swing", "The Professor", "Patriarch of the Clarinet", "Swing's Senior Statesman"
Born	May 30, 1909
Died	January 05, 1986
Origin	Chicago, Illinois, U.S.
Instrument	Clarinet
Genre	Swing, big band
Occupation	Musician, bandleader, songwriter
Years active	1926–1986

Benjamin David “Benny” Goodman

Goodman's bands launched the careers of many major names in jazz, and during an era of segregation, he also led one of the first racially-integrated musical groups. Goodman continued to perform to nearly the end of his life, including exploring his interest in classical music.

Childhood and early years

Goodman was born in Chicago, Illinois, the ninth of twelve children of poor Jewish immigrants from the Russian Empire, who lived in the Maxwell Street neighborhood. His father was David Goodman, a tailor from Warsaw; his mother was Dora Grisinsky

When Benny was 13, his father enrolled him and two of his older brothers in music lessons at the Kehelah Jacob Synagogue. The next year he joined the boys club band at Jane Addams' Hull House, where he received lessons from director James Sylvester. He also received two years of instruction from the classically trained clarinetist Franz Schoepp. His early influences were New Orleans jazz clarinetists working in Chicago, notably Johnny Dodds, Leon Roppolo, and Jimmy Noone. "Benny described his father's death as 'the saddest thing that ever happened in our family.'"

Career

Goodman left for New York City and became a successful session musician during the late 1920s and early 1930s (mostly with Ben Pollack's band between 1926 and 1929). A notable March 21, 1928 Victor session found Goodman alongside Glenn Miller, Tommy Dorsey, and Joe Venuti in the All-Star Orchestra, directed by Nat Shilkret. He played with the nationally known bands of Ben Selvin, Red Nichols, Isham Jones (although he is not on any of Jones's records), and Ted Lewis. He recorded sides for Brunswick under the name Bennie Goodman's Boys, a band that featured Glenn Miller. In 1928, Benny Goodman and Glenn Miller wrote the instrumental "Room 1411", which was released as a Brunswick 78. He also recorded musical soundtracks for movie shorts; fans believe that Benny Goodman's clarinet can be heard on the soundtrack of One A. M., a Charlie Chaplin comedy re-released to theaters in 1934.

During this period as a successful session musician, John Hammond arranged for a series of jazz sides recorded for and issued on Columbia starting in 1933 and continuing until his signing with Victor in 1935, during his success on radio. There were also a number of commercial studio sides recorded for Melotone between late 1930 and mid-1931 under Goodman's name. The all-star Columbia sides featured Jack Teagarden, Joe Sullivan, Dick McDonough, Arthur Schutt, Gene Krupa, Teddy Wilson, Coleman Hawkins (for 1 session), and vocalists Jack Teagarden and Mildred Bailey, and the first two recorded vocals by a young Billie Holiday.

In 1934 Goodman auditioned for NBC's Let's Dance, a well-regarded three-hour weekly radio program that featured various styles of dance music. His familiar theme song by that title was based on Invitation to the Dance by Carl Maria von Weber. Since he needed new arrangements every week for the show, his agent, John Hammond, suggested that he purchase "hot" (swing) arrangements from Fletcher Henderson, an African-American musician from Atlanta who had New York's most popular African-American band in the 1920s and early 1930s.

In early 1935, Goodman and his band were one of three bands (the others were Xavier Cugat and "Kel Murray" [r.n. Murray Kellner]) featured on Let's Dance where they played arrangements by Henderson along with hits such as "Get Happy" and "Jingle Bells" from composer and arranger Spud Murphy. Goodman's portion of the program from New York, at 12:30 a.m. Eastern Time, aired too late to attract a large East Coast audience. However, unknown to him, the time slot gave him an avid following on the West Coast (they heard him at 9:30 p.m. Pacific Time). He and his band remained on Let's Dance until May of that year when a strike by employees of the series' sponsor, Nabisco, forced the cancellation of the radio show. An engagement was booked at Manhattan's Roosevelt Grill (filling in for Guy Lombardo), but the crowd there expected 'sweet' music and Goodman's band was unsuccessful. In Pittsburgh at the Stanley Theater some of the kids danced in the aisles. This had made little impact on the band's tour until August 19 when they arrived in Oakland to play at McFadden's Ballroom. There, Goodman and his artists Gene Krupa, Bunny Berigan, and Helen Ward found a large crowd of young dancers, raving and cheering the hot music they had heard on the Let's Dance radio show. Herb Caen wrote that "from the first note, the place was in an uproar." One night later, at Pismo Beach, the show was another flop, and the band thought the overwhelming reception in Oakland had been a fluke.

The next night, August 21, 1935 at the Palomar Ballroom in Los Angeles, Goodman and his band began a three-week engagement. On top of the Let's Dance airplay, Al Jarvis had been playing Goodman records on KFWB radio, and Los Angeles fans were primed to hear him in person. Goodman started the evening with stock arrangements, but after an indifferent response, began the second set with the arrangements by Fletcher Henderson and Spud Murphy. According to Willard Alexander, the band's booking agent, Krupa said "If we're gonna die, Benny, let's die playing our own thing." The crowd broke into cheers and applause. News reports spread word of the enthusiastic dancing and exciting new music that was happening. Over the course of the engagement, the "Jitterbug" began to appear as a new dance craze, and radio broadcasts carried the band's performances across the nation.}}

In late 1937, Goodman's publicist Wynn Nathanson attempted a publicity stunt by suggesting Goodman and his band should play Carnegie Hall in New York City. If this concert were to take place, then Benny Goodman would be the first Jazz band leader to perform in Carnegie hall. "Benny Goodman was initially hesitant about the concert, fearing for the worst; however, when his film Hollywood Hotel opened to rave reviews and giant lines, he threw himself into the work. He gave up several dates and insisted on holding rehearsals inside Carnegie Hall to familiarize the band with the lively acoustics."

The concert was the evening of January 16, 1938. It sold out weeks before, with the capacity 2,760 seats going for the top price of US$2.75 a seat, for the time a very high price.

By the time the band got to the climactic piece "Sing, Sing, Sing", success was assured. This performance featured playing by tenor saxophonist Babe Russin, trumpeter Harry James, and Benny Goodman, backed by drummer Gene Krupa. When Goodman finished his solo, he unexpectedly gave a solo to pianist Jess Stacy. "At the Carnegie Hall concert, after the usual theatrics, Jess Stacy was allowed to solo and, given the venue, what followed was appropriate," wrote David Rickert. "Used to just playing rhythm on the tune, he was unprepared for a turn in the spotlight, but what came out of his fingers was a graceful, impressionistic marvel with classical flourishes, yet still managed to swing. It was the best thing he ever did, and it's ironic that such a layered, nuanced performance came at the end of such a chaotic, bombastic tune."

This concert has been regarded as one of the most significant in jazz history. After years of work by musicians from all over the country, jazz had finally been accepted by mainstream audiences. Recordings were made of this concert, but even by the technology of the day the equipment used was not of the finest quality. Acetate recordings of the concert were made, and aluminum studio masters were also cut.}}

Goodman took the newly discovered recording to his record company, Columbia, and a selection was issued on LP. These recordings have not been out of print since they were first issued. In early 1998, the aluminum masters were rediscovered and a new CD set of the concert was released based on these masters. The album released based on those masters went on to be one of the best selling live jazz albums of all time.

Charlie Christian

Pianist/arranger Mary Lou Williams was a good friend of both Columbia records producer John Hammond and Benny Goodman. She first suggested to John Hammond that he see Charlie Christian.

Charlie Christian was playing at the Ritz in Oklahoma City where [...] John Hammond heard him in 1939. Hammond recommended him to Benny Goodman, but the band leader wasn't interested. The idea of an electrified guitar didn't appeal, and Goodman didn't care for Christian's flashy style of dressing. Reportedly, Hammond personally installed Christian onstage during a break in a Goodman concert in Beverly Hills. Irritated to see Christian among the band, Goodman struck up "Rose Room", not expecting the guitarist to know the tune. What followed amazed everyone who heard the 45-minute performance.

Charlie was a hit on the electric guitar and remained in the Benny Goodman Sextet for two years (1939–1941). He wrote many of the group's head arrangements (some of which Goodman took credit for) and was an inspiration to all. The sextet made him famous and provided him with a steady income while Charlie worked on legitimizing, popularizing, revolutionizing, and standardizing the electric guitar as a jazz instrument.

Charlie Christian's recordings and rehearsal dubs made with Benny Goodman in the early forties are widely known and were released by Columbia.

Beyond swing

Goodman continued his meteoric rise throughout the late 1930s with his big band, his trio and quartet, and a sextet. By the mid-1940s, however, big bands lost a lot of their popularity. In 1941, ASCAP had a licensing war with music publishers. In 1942 to 1944 and 1948, the musician's union went on strike against the major record labels in the United States, and singers took the spot in popularity that the big bands once enjoyed. During this strike, the United States War Department approached the union and requested the production of the V-Disc, a set of records containing new and fresh music for soldiers to listen to. Also, by the late 1940s, swing was no longer the dominant mode of jazz musicians.

Bebop, Cool Jazz

By the 1940s, jazz musicians were borrowing advanced ideas from classical music. The recordings Goodman made in bop style for Capitol Records were highly praised by jazz critics. When Goodman was starting a bebop band, he hired Buddy Greco, Zoot Sims, Wardell Gray and a few other modern players.

, George Auld, Gene Krupa, Clint Neagley, Ziggy Elman, Israel Crosby and Teddy Wilson (at piano)]]

Goodman enjoyed the bebop and cool jazz that was beginning to arrive in the 1940s. When Goodman heard Thelonious Monk, a celebrated pianist and accompanist to bop players Charlie Parker, Dizzy Gillespie and Kenny Clarke, he remarked, "I like it, I like that very much. I like the piece and I like the way he played it. [...] I think he's got a sense of humor and he's got some good things there."

Forays into classical repertoire

Goodman's first classical recording dates from April 25, 1938 when he recorded Mozart's Clarinet Quintet in A major, K. 581, with the Budapest Quartet. After his bop period, Goodman furthered his interest in classical music written for the clarinet, and frequently met with top classical clarinetists of the day. In 1946, he met Ingolf Dahl, an emigre classical composer on the faculty of the University of Southern California, who was then musical director of the Victor Borge show. They played chamber music together (Brahms, Milhaud, Hindemith, Debussy) and in 1948 Goodman played in the world premiere performance of Dahl's Concerto a Tre.

In 1949, when he was 40, Goodman decided to study with Reginald Kell, one of the world's leading classical clarinetists. To do so, he had to change his entire technique: instead of holding the mouthpiece between his front teeth and lower lip, as he had done since he first took a clarinet in hand 30 years earlier, Goodman learned to adjust his embouchure to the use of both lips and even to use new fingering techniques. He had his old finger calluses removed and started to learn how to play his clarinet again—almost from scratch.

Goodman commissioned and premiered works by leading composers for clarinet and symphony orchestra that are now part of the standard repertoire, namely Contrasts by Béla Bartók, Clarinet Concerto No. 2, Op. 115 by Malcolm Arnold, Derivations for Clarinet and Band by Morton Gould, and Aaron Copland's Clarinet Concerto. While Leonard Bernstein's Prelude, Fugue, and Riffs was commissioned for Woody Herman's big band, it was premiered by Goodman. Woody Herman was the dedicatee (1945) and first performer (1946) of Igor Stravinsky's Ebony Concerto, but many years later Stravinsky made another recording, this time with Benny Goodman as the soloist.

He made a further recording of Mozart's Clarinet Quintet, in July 1956 with the Boston Symphony String Quartet, at the Berkshire Festival; on the same occasion he also recorded Mozart's Clarinet Concerto in A major, K. 622, with the Boston Symphony Orchestra under Charles Munch. He also recorded the clarinet concertos of Weber and Carl Nielsen.

Premiere Rhapsodie for Clarinet by Claude Debussy

Clarinet Sonata No. 2 in E flat by Johannes Brahms

Rondo from Grand Duo Concertant in E flat by Weber, and

An arrangement by Simeon Bellison of Beethoven's Variations on a theme from Mozart's "Don Giovanni".

Touring with Armstrong

After forays outside of swing, Goodman started a new band in 1953. According to Donald Clarke, this was not a happy time for Goodman.

, in the film Stage Door Canteen (1943)]]

Movies

Benny Goodman's band appeared as a specialty act in major musical features, including The Big Broadcast of 1937, Hollywood Hotel (1938), Syncopation (1942), The Powers Girl (1942), Stage Door Canteen (1943), The Gang's All Here (1943), Sweet and Lowdown (1944) and A Song Is Born (1948). Goodman's only starring feature was Sweet and Low Down (1944).

Goodman's success story was told in the 1955 motion picture The Benny Goodman Story with Steve Allen and Donna Reed. A Universal-International production, it was a follow up to 1954's successful The Glenn Miller Story. The screenplay was heavily fictionalized, but the music was the real draw. Many of Goodman's professional colleagues appear in the film, including Ben Pollack, Gene Krupa, Lionel Hampton and Harry James.

Personality and influence

Goodman was regarded by some as a demanding taskmaster, by others an arrogant and eccentric martinet. Many musicians spoke of "The Ray", Goodman's trademark glare that he bestowed on a musician who failed to perform to his demanding standards. Guitarist Allan Reuss incurred the maestro's displeasure on one occasion, and Goodman relegated him to the rear of the bandstand, where his contribution would be totally drowned out by the other musicians. Vocalists Anita O'Day and Helen Forrest spoke bitterly of their experiences singing with Goodman. "The twenty or so months I spent with Benny felt like twenty years," said Forrest. "When I look back, they seem like a life sentence." At the same time, there are reports that he privately funded several college educations and was sometimes very generous, though always secretly. When a friend once asked him why, he reportedly said, "Well, if they knew about it, everyone would come to me with their hand out."

Goodman is also responsible for a significant step in racial integration in America. In the early 1930s, black and white jazz musicians could not play together in most clubs or concerts. In the Southern states, racial segregation was enforced by the Jim Crow laws. Benny Goodman broke with tradition by hiring Teddy Wilson to play with him and drummer Gene Krupa in the Benny Goodman Trio. In 1936, he added Lionel Hampton on vibes to form the Benny Goodman Quartet; in 1939 he added pioneering jazz guitarist Charlie Christian to his band and small ensembles, who played with him until his death from tuberculosis less than three years later. This integration in music happened ten years before Jackie Robinson became the first black American to enter Major League Baseball. "[Goodman's] popularity was such that he could remain financially viable without touring the South, where he would have been subject to arrest for violating Jim Crow laws." According to Jazz by Ken Burns, when someone asked him why he "played with that nigger" (referring to Teddy Wilson), Goodman replied, "I'll knock you out if you use that word around me again".

John Hammond and Alice Goodman

One of Benny Goodman's closest friends off and on, from the 1930s onward was celebrated Columbia records producer John H. Hammond. Hammond and Goodman were so close that Hammond influenced Goodman's move from RCA records to the newly created Columbia records in 1939.

Later years

After winning numerous polls over the years as best jazz clarinetist, Goodman was inducted into the Down Beat Jazz Hall of Fame in 1957.

Goodman continued to play on records and in small groups. One exception to this pattern was a collaboration with George Benson in the 1970s. The two met when they taped a PBS salute to John Hammond and re-created some of the famous Goodman-Charlie Christian duets. Benny Goodman's musical papers were donated to Yale University after his death.

His music was featured in the 2010 documentary , narrated by Academy Award winner Dustin Hoffman.

Discography

(This discography combines LP and CD reissues of Goodman recordings under the dates of the original 78 rpm recordings through about 1950)

A Jazz Holiday (1928, Decca)

Benny Goodman and the Giants of Swing (1929, Prestige)

BG and Big Tea in NYC (1929, GRP)

''Swinging 34 Vols. 1 & 2 (1934, Melodean)

Sing, Sing, Sing (1935, Bluebird)

The Birth of Swing (1935, Bluebird)

(1935, Bluebird)

Stomping at the Savoy (1935, Bluebird)

Air Play (1936, Doctor Jazz)

Roll 'Em, Vol. 1 (1937, Columbia)

Roll 'Em, Vol. 2 (1937, CBS)

From Spirituals to Swing (1938, Vanguard)

The Famous 1938 Carnegie Hall Jazz Concert Vols. 1, 2, & 3 (Live) (1938, Columbia)

Mozart Clarinet Quintet (with Budapest String Quartet) (1938, Victor)

Ciribiribin (Live) (1939, Giants of Jazz)

Swingin' Down the Lane (Live) (1939, Giants of Jazz)

Featuring Charlie Christian (1939, Columbia)

Eddie Sauter Arrangements (1940, Columbia)

Swing Into Spring (1941, Columbia)

Undercurrent Blues (1947, Blue Note)

Swedish Pastry (1948, Dragon)

The Famous 1938 Carnegie Hall Jazz Concert (1950, Columbia)

Sextet (1950, Columbia)

BG in Hi-fi (1954, Capitol)

The Benny Goodman Story Volume 1 (1955?, Decca)

Mozart Clarinet concerto (with Boston symphomy) (1956)

The Great Benny Goodman (1956, Columbia)

Peggy Lee Sings with Benny Goodman (1957, Harmony)

Benny in Brussels Vols. 1 & 2 (1958, Columbia)

In Stockholm 1959 (1959, Phontastic)

The Benny Goodman Treasure Chest (1959, MGM)

Texaco's Swing into Spring 59 (1959, Cunningham & Walsh, Inc.)

Swing With Benny Goodman And His Orchestra (1960s?, Columbia/Harmony)

Benny Goodman in Moscow (1962, RCA Victor)

Benny Goodman Today (London Records of (1970) Canada Ltd.)

Benny Goodman And His Orchestra (1977)

Benny Goodman Live at Carnegie Hall; 40th Anniversary Concert (1978)

Live! Benny Let's Dance (1986)

The King Swings Star Line

Pure Gold (1992)

1935–1938 (1998)

Portrait of Benny Goodman (Portrait Series) (1998)

Carnegie Hall Jazz Concert '38 (1998)

Bill Dodge All-star Recording (1999)

1941–1955 His Orchestra and His (1999)

Live at Carnegie Hall (1999)

(2006) Remastered again

Notes

References

External links

Benny Goodman official site

Benny Goodman web biography with audio

Benny Goodman scores (a portion of the musician's estate) in the Music Division of The New York Public Library for the Performing Arts

Benny Goodman papers (the bulk of the musician's estate) in Irving S. Gilmore Music Library of Yale University

Benny Goodman biography

Category:1909 births Category:1986 deaths Category:Swing clarinetists Category:Swing bandleaders Category:Big band bandleaders Category:American jazz clarinetists Category:Musicians from Chicago, Illinois Category:Deaths from myocardial infarction Category:Grammy Lifetime Achievement Award winners Category:Kennedy Center honorees Category:Jazz bandleaders Category:Clarinetists Category:RCA Victor artists Category:Capitol Records artists Category:Columbia Records artists Category:Chess Records artists Category:Vocalion Records artists Category:Jewish American musicians Category:People from Westchester County, New York

Name	John Reed
Caption	Reed in 2007
Birth date	February 07, 1969
Birth place	TriBeCa, New York City
Nationality	American
Alma mater	Columbia University
Occupation	novelist
Website	http://www.johnreed.tv

John Reed (born February 7, 1969) is an American novelist. He is the author of four novels: A Still Small Voice (2000), Snowball's Chance (2002) with a preface by Alexander Cockburn, The Whole (2005), and All the World's a Grave: A New Play by William Shakespeare (2008). His fifth book, Tales of Woe (2010), is a collection of twenty-five stories, chronicling true stories of abject misery.

Biography

Born in 1969 in New York City, Reed is the son of artist David Reed. He attended Hampshire College, and received a Masters in Fine Art in Creative Writing from Columbia University. He teaches at The New School.

Reed was an early contributor to, and subsequently an editor with, Open City, a New York literary journal published by Robert Bingham, who later founded the book series.

Works

reading from his non-fiction Tales of Woe, at the MTV Press/Brooklyn Rail launch party.]]He is affiliated with the New York Press and The Brooklyn Rail. "Americans are extremely sophisticated in terms of narrative forms," said Reed in an interview. "We see it in commercials, we see it on TV, we see it in movies. But the narrative forms we're talking about are three acts, five acts, depending on how you want to look at it. They're all based on a Christian model of sin, suffering, redemption; which is not a large model."

A Still Small Voice

A Still Small Voice (Delacorte 2000, Delta 2001), Reed’s first novel, is a historical novel based on the life of a girl growing up in Kentucky from 1850-1870.

Snowball's Chance

Snowball's Chance (Roof Books 2002/2003), Reed’s second novel was a controversial send-up of George Orwell’s Animal Farm, and ended in a cataclysmic attack on the “Twin Mills” (reminiscent of the 9/11 attack on the World Trade Center). It became a bestseller in the field of books by independent literary publishers. and received international reviews. The Boston Globe wrote that Reed was “blaming the victim of terrorism,” while Christopher Hitchens called Reed a “Bin Ladenist". John Strausbaugh reported in The New York Press:

"Snowball's Chance is a pretty vicious parody of Animal Farm. 'My intention is to blast Orwell,' Reed says. 'I’m really doing my best to annihilate him.' He not only shanghais Orwell’s story, but amps up and mocks the writer’s famously flat, didactic style–that fairytailish simplicity that has ensured Animal Farm a place in high school English classes for the last 50 years."

The Daily Telegraph (London) wrote that a fortnight's work would not undo Orwell's legacy. The Orwell estate objected to Reed’s use of Animal Farm. The estate had recently weathered the release and publication of a handwritten list of "crypto-communists" that George Orwell gave to the British Secret Service at the onset of the "Cold War," a phrasing first employed by Orwell. The list of authors, artists and various politically active personages consisted of over one hundred names (the number is often mistakenly put at thirty-seven, which was the number of names previously released by the British Secret Service). Though the list does sport some unpleasant language and descriptions, the overall consequences of the list are debatable. Reed's work was interpreted as anti-Orwell. Throughout 2002/03, The Wind Done Gone (a parody of Gone with the Wind) was engaged in ongoing litigation with the estate of Margaret Mitchell; detractors of Snowball's Chance raised the question of copyright infringement, as was reported in The Age (Australian):

[William] Hamilton [the Orwell estate's legal representative], of London, said: "If it were a straight parody, I would say 'Good on you.' But this book seems to take rather than give." Reed said: "I think that Orwell, were he still alive, would far rather be with me in my hovel than sitting in some corporate office preparing lawsuits."

The Whole, or, Duh Whole

magazine's senior editor Monica de la Torre and editor-in-chief Betsy Sussler.]] The Whole, Reed’s third novel, parodied MTV and was released in 2005 by MTV Books (Simon & Schuster). The novel described a gigantic hole that appears in the middle of the country, which engulfs four states.

All the World's a Grave

Reed, in a new work, returns to the overhaul of canonical English writers in All the World's a Grave, fall 2008, Penguin Books. The work, subtitled "A New Play by William Shakespeare", is a tragedy in five acts, a "mash-up" constructed of lines drawn from five Shakespeare tragedies and one Shakespeare history; Hamlet, King Lear, Macbeth, Othello, Romeo & Juliet and Henry V. The work has received early praise from Actor Sir Ian McKellen and Playwright Richard Foreman. In the "literary trick" (as described by Page Six of The New York Post) Shakespeare's lines are rearranged into a wholly new story, in which Prince Hamlet of Denmark goes to war to claim his bride and the daughter of King Lear, Juliet. Upon a triumphant return home, Hamlet discovers that his mother has murdered his father, and married Macbeth. Visited by his father's ghost, and goaded by the opportunistic Lieutenant Iago, Hamlet is driven mad by the erroneous belief that Juliet is having an affair with General Romeo.

References

External links

John Reed's website

All the World's a Grave'', book website.

Kill the beavers!, The Daily Telegraph, November 22, 2002.

John Reed: Saint George and the Damn Truth, Moby Lives, Nove,ber 10, 2003.

John Reed: The Whole, an excerpt, Brooklyn Rail, January 2005.

Dinitia Smith: A Pig Returns to the Farm, Thumbing His Snout at Orwell, The New York Times, November 25, 2002.

Cathy Young: Blaming the Victim, Reason.com, December 3, 2002.

Andrea Scrima: Review of Tales of Woe, Rumpus, November 16, 2010.

Category:1969 births Category:Living people Category:American novelists Category:American humorists Category:Writers from New York Category:Hampshire College alumni Category:Columbia University alumni Category:George Orwell Category:The New School faculty

Name	Marlene Dietrich
Caption	From the trailer for Stage Fright (1950)
Birth date	December 27, 1901
Birth place	Schöneberg, Germany
Death date
Death place	Paris, France
Birth name	Maria Magdalene Dietrich
Occupation	Actress/Singer
Years active	1919–1984
Spouse	Rudolf Sieber (1924–1976)
Children	Maria Riva, born December 13, 1924
Relations	John Michael Riva (grandson), born June 28, 1948
Website	http://www.marlene.com/

Marlene Dietrich (; 27 December 1901 – 6 May 1992) was a German actress and singer.

Dietrich remained popular throughout her long career by continually re-inventing herself. In 1920s Berlin, she acted on the stage and in silent films. Her performance as Lola-Lola in The Blue Angel, directed by Josef von Sternberg, brought her international fame and a contract with Paramount Pictures in the US. Hollywood films such as Shanghai Express and Desire capitalised on her glamour and exotic looks, cementing her stardom and making her one of the highest paid actresses of the era. Dietrich became a US citizen in 1939; during World War II, she was a high-profile frontline entertainer. Although she still made occasional films in the post-war years, Dietrich spent most of the 1950s to the 1970s touring the world as a successful show performer.

In 1999 the American Film Institute named Dietrich the ninth greatest female star of all time.

Childhood

Dietrich was born Maria Magdalene Dietrich on 27 December 1901 in Schöneberg, a district of Berlin, Germany. She was the younger of two daughters (her sister Elisabeth being a year older) of Louis Erich Otto Dietrich and Wilhelmina Elisabeth Josephine Felsing, who married in December 1898. Dietrich's mother was from a well-to-do Berlin family who owned a clockmaking firm and her father was a police lieutenant. Her father died in 1911. His best friend, Eduard von Losch, an aristocrat first lieutenant in the Grenadiers courted Wilhelmina and eventually married her in 1916, but he died soon after as a result of injuries sustained during World War I. Eduard von Losch never officially adopted the Dietrich children, hence Dietrich's surname was never von Losch, as is sometimes claimed. She was nicknamed "Lena" and "Lene" (pronounced Lay-neh) within the family. Around the age of 11, she contracted her two first names to form the then-novel name of "Marlene".

Dietrich attended the Auguste Victoria School for Girls from 1906 to 1918. She studied the violin and became interested in theatre and poetry as a teenager. Her dreams of becoming a concert violinist were cut short when she injured her wrist.

Early career

In 1921, Dietrich auditioned unsuccessfully for theatrical director and impresario Max Reinhardt's drama academy; however, she soon found herself working in his theatres as a chorus girl and playing small roles in dramas, without attracting any special attention at first. She made her film debut playing a bit part in the 1922 film, So sind die Männer. She met her future husband, Rudolf Sieber, on the set of another film made that year, Tragödie der Liebe. Dietrich and Sieber were married on 17 May 1924. Her only child, daughter Maria Elisabeth Sieber, later known as Maria Riva, was born on 13 December 1924.

Dietrich continued to work on stage and in film both in Berlin and Vienna throughout the 1920s. On stage, she had roles of varying importance in Frank Wedekind's Pandora's Box, William Shakespeare's The Taming of the Shrew and A Midsummer Night's Dream as well as George Bernard Shaw's Back to Methuselah and Misalliance. It was in musicals and revues, such as Broadway, Es Liegt in der Luft and Zwei Krawatten, however, that she attracted the most attention. By the late 1920s, Dietrich was also playing sizable parts on screen, including Café Elektric (1927), Ich küsse Ihre Hand, Madame (1928) and Das Schiff der verlorenen Menschen (1929).

In 1929, Dietrich landed the breakthrough role of Lola-Lola, a cabaret singer who causes the downfall of a hitherto respected schoolmaster, in UFA's production, The Blue Angel (1930). The film was directed by Josef von Sternberg, who thereafter took credit for having "discovered" Dietrich. The film is also noteworthy for having introduced Dietrich's signature song "Falling in Love Again".

Film star

(1930)]]

On the strength of The Blue Angel's international success, and with encouragement and promotion from von Sternberg, who was already established in Hollywood, Dietrich then moved to the U.S. on contract to Paramount Pictures. The studio sought to market Dietrich as a German answer to MGM's Swedish sensation, Greta Garbo. Her first American film, Morocco, directed by von Sternberg, earned Dietrich her only Oscar nomination. However, at the time she knew very little English and so spoke her lines phonetically.

Dietrich starred in six films directed by von Sternberg at Paramount between 1930 and 1935: Morocco, Dishonored, Shanghai Express, Blonde Venus, The Scarlet Empress, and The Devil is a Woman. In Hollywood, von Sternberg worked very effectively with Dietrich to create the image of a glamorous femme fatale. He encouraged her to lose weight and coached her intensively as an actress – she, in turn, was willing to trust him and follow his sometimes imperious direction in a way that a number of other performers resisted.

and Marlene Dietrich in Shanghai Express (1932)]]

A crucial part of the overall effect was created by von Sternberg's exceptional skill in lighting and photographing Dietrich to optimum effect—the use of light and shadow, including the impact of light passed through a veil or slatted blinds (as for example in Shanghai Express)—which, when combined with scrupulous attention to all aspects of set design and costumes, make this series of films among the most visually stylish in cinema history. Critics still vigorously debate how much of the credit belonged to von Sternberg and how much to Dietrich, but most would agree that neither consistently reached such heights again after Paramount fired von Sternberg and the two ceased working together. (1948)]] Without von Sternberg, Dietrich — along with Fred Astaire, Joan Crawford, Mae West, Dolores del Río, Katharine Hepburn and others — was labeled "box office poison" after her 1937 film, Knight Without Armour, proved an expensive flop. In 1939, however, her stardom revived when she played the cowboy saloon girl Frenchie in the light-hearted western Destry Rides Again opposite James Stewart. The movie also introduced another favorite song, "The Boys in the Back Room". She played a similar role in 1942 with John Wayne in The Spoilers.

While Dietrich arguably never fully regained her former screen glory, she continued performing in the movies, including appearances for such distinguished directors as Billy Wilder, Fritz Lang, Alfred Hitchcock and Orson Welles, in films that included A Foreign Affair, Witness for the Prosecution, Rancho Notorious, Stage Fright and Touch of Evil.

World War II

Dietrich was known to have strong political convictions and the mind to speak them. In interviews, Dietrich stated that she had been approached by representatives of the Nazi Party to return to Germany, but had turned them down flat. Dietrich, a staunch anti-Nazi, became an American citizen in 1939.

During two extended tours for the USO in 1944 and 1945, musical propaganda broadcasts designed to demoralize enemy soldiers. Dietrich, the only performer who was made aware that her recordings would be for OSS use, recorded a number of songs in German for the project, including Lili Marleen, a favourite of soldiers on both sides of the conflict. William Joseph Donovan, head of the OSS, wrote to Dietrich, "I am personally deeply grateful for your generosity in making these recordings for us.

Dietrich was awarded the Presidential Medal of Freedom by the US in 1947. She said that this was her proudest accomplishment.

Dietrich's recording career spanned over half a century. Prior to international stardom, she recorded a duet, "Wenn die Beste Freundin", with Margo Lion. This song, with its lesbian overtones, was a hit in Berlin in 1928. In 1930, Dietrich recorded English and German language selections from her film The Blue Angel, for Electrola in Berlin. It was at this time that she recorded Friedrich Hollaender's "Falling in Love Again (Can't Help It)" for the first time—it would become her theme song, to be sung in thousands of concerts.

A 1933 Parisian recording session for Polydor produced several classic tracks, including Franz Waxman's "Allein in Einer Grossen Stadt." Dietrich recorded "The Boys in the Back Room" from Destry Rides Again for Decca Records in 1939. In 1945, she recorded her version of "Lili Marleen". Dietrich signed with Columbia Records in the 1950s, with Mitch Miller as her producer. The 1950 LP Marlene Dietrich Overseas, with Dietrich singing German translations of American songs of the World War II era, was a hit. She also recorded several duets with Rosemary Clooney; these tapped into a younger market and charted.

(1961)]]

During the 1960s, Dietrich recorded several albums and many singles, mostly with Burt Bacharach at the helm of the orchestra. Dietrich in London, recorded live at the Queen's Theatre in 1964, is an enduring document of Dietrich in concert. In 1978, Dietrich's performance of the title track from her last film, Just a Gigolo, was issued as a single. She made her last recordings from her Paris apartment in 1987: spoken introductions to songs for a nostalgia album by Udo Lindenberg.

Asked by Maximilian Schell in his documentary, Marlene (1984), which of her own recordings were her favorites, Dietrich replied that she thought Marlene singt Berlin-Berlin (1964) – an album featuring her singing old Berlin schlager (popular songs) – was her best-recorded work.

Stage and cabaret

From the early 1950s until the mid-1970s, Dietrich worked almost exclusively as a highly-paid cabaret artist, performing live in large theaters in major cities worldwide.

In 1953, Dietrich was offered a then-substantial $30,000 per week to appear live at the Sahara Hotel on the Las Vegas Strip. The show was short, consisting only of a few songs associated with her. Her daringly sheer costumes, designed by Jean Louis, attracted a lot of publicity and attention. This engagement was so successful that she was signed to appear at the Cafė de Paris in London the following year, and her Las Vegas contracts were also renewed. When Dietrich signed Burt Bacharach as her musical arranger in the mid-1950s, her show started to evolve from a mere nightclub act to a more ambitious one-woman show featuring an array of new material. Her repertoire included songs from her films as well as popular songs of the day. Bacharach's arrangements helped to disguise Dietrich's limited vocal range – she was a contralto – and allowed her to perform her songs to maximum dramatic effect.

Dietrich's return to Germany in 1960 for a concert tour elicited a mixed response. Many Germans felt she had betrayed her homeland by her actions during World War II. During her performances at Berlin's Titania Palast theatre, protesters chanted, "Marlene Go Home!" On the other hand, Dietrich was warmly welcomed by other Germans, including Berlin Mayor Willy Brandt. The tour was an artistic triumph, but a financial failure. She also undertook a tour of Israel around the same time, which was well-received; she sang some songs in German during her concerts, including, from 1962, a German version of Pete Seeger's anti-war anthem "Where Have All the Flowers Gone", thus breaking the unofficial taboo against the use of German in Israel.

Dietrich appeared in the Royal Variety Show in November 1963 (co-incidentally the only Royal Variety Show at which The Beatles ever performed) and at the Edinburgh Festival, with Bacharach as conductor, in 1964 and 1965. She made appearances on Broadway twice (1967 and 1968), winning a special Tony Award for her performance. Her costumes (body-hugging dresses covered with thousands of crystals as well as a swansdown coat), body-sculpting undergarments, careful stage lighting helped to preserve Dietrich's glamorous image well into old age.

In November 1972, a version of the show Dietrich had performed on Broadway was filmed in London. She was paid $250,000 for her cooperation, but she was unhappy with the result. The show, originally titled I Wish You Love, was broadcast in the UK on the BBC on 1 January 1973 and in the US on CBS on 13 January 1973. The show was retitled An Evening With Marlene Dietrich for the later VHS and DVD releases.

Final years

Dietrich's show business career largely ended on 29 September 1975, when she broke her leg during a stage performance in Sydney, Australia. Her husband, Rudolf Sieber, died of cancer on 24 June 1976.

Dietrich's final on-camera film appearance was a cameo role in Just a Gigolo (1979), starring David Bowie and directed by David Hemmings. Dietrich also performed the title track in the film, and recorded the song for the soundtrack LP.

directed by David Hemmings.]]

An alcoholic and dependent on painkillers, Dietrich withdrew to her apartment at 12 avenue Montaigne in Paris. She spent the final 11 years of her life mostly bedridden, allowing only a select few—including family and employees—to enter the apartment. During this time, she was a prolific letter-writer and phone-caller. Her autobiography, Nehmt nur mein Leben, was published in 1979.

In 1982, Dietrich agreed to participate in a documentary film about her life, Marlene (1984), but refused to be filmed. The film's director, Maximilian Schell, was only allowed to record her voice. He used his interviews with her as the basis for the film, set to a collage of film clips from her career. The final film won several European film prizes and received an Academy Award nomination for Best Documentary in 1984. Newsweek named it "a unique film, perhaps the most fascinating and affecting documentary ever made about a great movie star".

Abschied vom Leben (Farewell from Life) by Theodor Körner.]] She began a close friendship with the biographer David Bret, one of the few people allowed inside her Paris apartment. Bret is thought to have been the last person outside her family that Dietrich spoke to, two days before her death: "I have called to say that I love you, and now I may die." She was in constant contact with her daughter, who came to Paris regularly to check on her.

In an interview with the German magazine Der Spiegel in November 2005, Dietrich's daughter and grandson claim that Dietrich was politically active during these years. She kept in contact with world leaders by telephone, including Ronald Reagan and Mikhail Gorbachev, running up a monthly bill of over US$3,000. In 1989, her appeal to save the Babelsberg studios from closure was broadcast on BBC Radio, and she spoke on television via telephone on the occasion of the fall of the Berlin Wall in 1990.

Dietrich died of renal failure on 6 May 1992 at the age of 90 in Paris. A service was conducted at La Madeleine in Paris before 3,500 mourners and a crowd of well-wishers outside. Her body, covered with an American flag, was then returned to Berlin, where she was interred at the Städtischer Friedhof III, Berlin-Schöneberg, Stubenrauchstraße 43–45, in Friedenau Cemetery, near her mother's grave and not far away from the house where she was born.

Private life

Unlike her professional celebrity, which was carefully crafted and maintained, Dietrich's personal life was kept out of public view. Dietrich, who some suspect was bisexual, enjoyed the thriving gay scene of the time and drag balls of 1920s Berlin.

She married only once, assistant director Rudolf Sieber, who later became an assistant director at Paramount Pictures in France, responsible for foreign language dubbing. Dietrich's only child, Maria Elisabeth Sieber, was born in Berlin on 13 December 1924. She would later become an actress, primarily working in television, known as Maria Riva. When Maria gave birth to a son in 1948, Dietrich was dubbed "the world's most glamorous grandmother". After Dietrich's death, Riva published a frank biography of her mother, titled Marlene Dietrich (1992).

Throughout her career Dietrich had an unending string of affairs, some short-lived, some lasting decades; they often overlapped and were almost all known to her husband, to whom she was in the habit of passing the love letters of her men, sometimes with biting comments. In 1938, Dietrich met and began a relationship with the writer Erich Maria Remarque, and in 1941, the French actor and military hero Jean Gabin. Their relationship ended in the mid-1940s. She also had an affair with the Cuban-American writer Mercedes de Acosta, who was Greta Garbo's lover. Her last great passion, when she was in her 50s, appears to have been for the actor Yul Brynner, but her love life continued well into her 70s. She counted George Bernard Shaw and John F. Kennedy among her conquests. Dietrich maintained her husband and his mistress first in Europe and later on a ranch in the San Fernando Valley, California.

She was raised a Protestant but lost her faith due to battlefront experiences during her time with the US Army as an entertainer after hearing preachers from both sides invoking God as their support. "I lost my faith during the war and can't believe they are all up there, flying around or sitting at tables, all those I've lost." She once said: “If God exists, he needs to review his plan.”

Image and legacy

Dietrich was a fashion icon to the top designers as well as a screen icon that later stars would follow. She once said, "I dress for myself. Not for the image, not for the public, not for the fashion, not for men." Her public image and some of her movies included strong sexual undertones, including bisexuality.

A significant volume of academic literature, especially since 1975, analyzes Dietrich's image, as created by the movie industry, within various theoretical frameworks, including that of psycho-analysis. Emphasis is placed, inter alia, on the "fetishistic" manipulation of the female image.

In 1992, a plaque was unveiled at Leberstraße 65 in Berlin-Schöneberg, the site of Dietrich's birth. A postage stamp bearing Dietrich's portrait was issued in Germany on 14 August 1997.

Luxury pen manufacturer MontBlanc produced a limited edition 'Marlene Dietrich' pen to commemorate Dietrich's life. It is platinum-plated and has an encrusted deep blue sapphire.

For some Germans, she remained a controversial figure as a war-time traitor. In 1996, after some controversy, it was decided not to name a street after Dietrich in Berlin-Schöneberg, her birthplace. However, on 8 November 1997, the central Marlene-Dietrich-Platz was unveiled in Berlin to honor Dietrich. The commemoration reads Berliner Weltstar des Films und des Chansons. Einsatz für Freiheit und Demokratie, für Berlin und Deutschland ("Berlin world star of film and song. Dedication to freedom and democracy, to Berlin and Germany").

Dietrich was made an honorary citizen of Berlin on 16 May 2002.

The U.S. Government awarded Marlene Dietrich the Presidential Medal of Freedom for her war work. Dietrich has been quoted as saying this was the honor of which she was most proud in her life. She was also made a chevalier (later commandeur) of the Légion d'honneur by the French government.

Estate

On 24 October 1993, the largest portion of Dietrich's estate was sold to the Stiftung Deutsche Kinemathek—after U.S. institutions showed no interest—where it became the core of the exhibition at the Filmmuseum Berlin. The collection includes: over 3,000 textile items from the 1920s through the 1990s, including film and stage costumes as well as over a thousand items from Dietrich's personal wardrobe; 15,000 photographs, by Cecil Beaton, Horst P. Horst, George Hurrell, Lord Snowdon and Edward Steichen; 300,000 pages of documents, including correspondence with Burt Bacharach, Yul Brynner, Maurice Chevalier, Noël Coward, Jean Gabin, Ernest Hemingway, Karl Lagerfeld, Nancy and Ronald Reagan, Erich Maria Remarque, Josef von Sternberg, Orson Welles, and Billy Wilder; as well as other items like film posters and sound recordings.

The contents of Dietrich's Manhattan apartment, along with other personal effects such as jewelry and items of clothing, were sold by public auction by Sotheby's (Los Angeles) on 1 November 1997. The apartment itself (located at 993 Park Avenue) was sold for $615,000 in 1998.

Works

Filmography

Selected discography

;Singles (selected)

1928: "Wenn die beste Freundin"

1928: "Es liegt in der Luft"

1930: "Nimm Dich in acht vor blonden Frauen"

1930: "Ich bin von Kopf bis Fuß auf Liebe eingestellt"

1930: "Falling in Love Again"

1930: "Ich bin die fesche Lola"

1930: "Wenn ich mir was wünschen dürfte"

1930: "Kinder, heut' abend, da such' ich mir was aus"

1931: "Leben ohne Liebe kannst du nicht"

1931: "Give Me the Man"

1931: "Peter"

1931: "Quand L´Amour meurt"

1931: "Johnny, wenn du Geburtstag hast"

1933: "Mein blondes Baby"

1933: "Ja so bin ich"

1933: "Allein in einer großen Stadt"

1933: "Wo ist der Mann?"

1939: "The Boys in the Backroom"

1945: "Lili Marleen" (English version)

1954: "Ich hab' noch einen Koffer in Berlin"

1960: "Lili Marleen" (German version)

1962: "Sag mir wo die Blumen sind"

1963: "Für alles kommt die Zeit"

1964: "Die Antwort weiß ganz allein der Wind"

1964: "Der Trommelmann"

1965: "Such Trying Times"

1966: "Still war die Nacht"

1978: "Just a Gigolo"

;Albums

1951: Marlene Dietrich Overseas

1954: Live at the Café de Paris

1959: Dietrich in Rio

1960: Wiedersehen mit Marlene

1964: Marlene singt Berlin

1964: Die neue Marlene

1964: Dietrich in London

;Compilations (selected)

1949: Souvenir Album

1952: M.D. Live 1932–1952

1959: Lil Marlene

1969: Marlene Dietrich

1973: The Best of Marlene Dietrich

1974: Das war mein Milljöh

1982: Her Complete Decca Recordings

1992: The Marlene Dietrich Album

1992: Art Deco Marlene Dietrich

2007: Marlene Dietrich with the Burt Bacharach Orchestra

Radio

Notable appearances include:

Lux Radio Theater: The Legionnaire and the Lady opposite Clark Gable (1 August 1936)

Lux Radio Theater: Desire opposite Herbert Marshall (22 July 1937)

Lux Radio Theater: song of Songs opposite Douglas Fairbanks, Jr (20 December 1937)

The Chase and Sanborn Program with Edgar Bergen and Don Ameche (2 June 1938)

Lux Radio Theater: Manpower opposite Edward G Robinson and George Raft (15 March 1942)

The Gulf Screen Guild Theater: Pittsburgh opposite John Wayne (12 April 1943)

Theatre Guild on the Air: Grand Hotel opposite Ray Milland (24 March 1948)

Studio One: Arabesque (29 June 1948)

Theatre Guild on the Air: The Letter opposite Walter Pidgeon (3 October 1948)

Ford Radio Theater: Madame Bovary opposite Claude Rains (8 October 1948)

Screen Director's Playhouse: A Foreign Affair opposite Rosalind Russell and John Lund (5 March 1949)

MGM Theatre of the Air: Anna Karenina (9 December 1949)

MGM Theatre of the Air: Camille (6 June 1950)

Lux Radio Theater: No Highway in the Sky opposite James stewart (21 April 1952)

Screen Director's Playhouse: A Foreign Affair opposite Lucille Ball and John Lund (1 March 1951)

The Big Show starring Tallullah Bankhead (2 October 1951)

The Child, with Godfrey Kenton, radio play produced by Richard Imison for the BBC on 18 August 1965

Dietrich's appeal to save the Babelsburg studios was broadcast on BBC radio

Dietrich made several appearances on Armed Forces Radio Services shows like The Army Hour and Command Performance during the war years. In 1952, she had her own series on American ABC entitled, Cafe Istanbul. During 1953–54, she starred in 38 episodes of Time for Love on CBS. She recorded 94 short inserts, "Dietrich Talks on Love and Life", for NBC's Monitor in 1958.

Dietrich gave many radio interviews worldwide on her concert tours. In 1960, her show at the Tuschinski in Amsterdam was broadcast live on Dutch radio. Her 1962 appearance at the Olympia in Paris was also broadcast.

Television

Complete list of television appearances (excluding news footage):

Unicef Gala (Düsseldorf, 1962): Guest Appearance

Cirque d'hiver (Paris, 9 March 1963): Cameo as "Garcon de Piste"

Deutsche-Schlager-Festspiele (Baden-Baden, 1963): Guest Appearance

Grand Gala du Disque (Edison Awards) (The Hague, 1963): Guest Appearance

Galakväll pa Berns (Stockholm, 1963): Concert, with introduction by Karl Gerhardt and orchestra conducted by Burt Bacharach

Royal Variety Performance (London, 4 November 1963): Guest Appearance

The Stars Shine for Jack Hylton (London, 1965): Guest Appearance

The Magic of Marlene (Melbourne, October 1965): Concert, with orchestra conducted by William Blezard.

The 22nd Annual Tony Awards (New York, 21 April 1968): Acceptance Speech

Guest Star Marlene Dietrich (Copenhagen – for Swedish Television, 1970): Interview

I Wish You Love (An Evening with Marlene Dietrich) (London, 23 & 24 November 1972): Concert TV Special, with orchestra conducted by Stan Freeman.

Published works

References

Further reading

External links

Marlene Dietrich Collection, Berlin (MDCB)

Marlene Dietrich – Daily Telegraph obituary

WWII: Marlene Dietrich and the Boys - slideshow by Life magazine

Category:1901 births Category:1992 deaths Category:People from Berlin Category:American female singers Category:American film actors Category:American radio actors Category:American television actors Category:Bisexual actors Category:Cabaret singers Category:Deaths from renal failure Category:Disease-related deaths in France Category:English-language singers Category:American people of German descent Category:German expatriates in the United States Category:German female singers Category:German film actors Category:Former Calvinists Category:German atheists Category:German immigrants to the United States Category:German silent film actors Category:German stage actors Category:American actors of German descent Category:German-language singers Category:LGBT people from the United States Category:LGBT parents Category:Liberty Records artists Category:Naturalized citizens of the United States Category:Tony Award winners Category:Torch singers Category:Women in World War II Category:LGBT musicians from Germany Category:Presidential Medal of Freedom recipients Category:German autobiographers Category:Commandeurs of the Légion d'honneur

Caption	Maite Perroni performing
Birthname	Maite Perroni Beorlegui
Birthdate	March 09, 1983
Birthplace	Mexico City, Federal District, Mexico
Occupation	Actress, Singer
Yearsactive	2004–present
Url	http://www.maite-perroni.com.mx/

Maite Perroni Beorlegui (born March 9, 1983) is a Mexican actress and singer/songwriter, who is best known for starring in Rebelde, Cuidado con el Ángel and Mi Pecado. She gained international fame as a member of the Latin Grammy nominated pop group RBD. Univision named Maite Perroni as the new Queen of the Telenovelas in 2009.

Biography

Early life

Maite Perroni Beorlegui was born in Mexico City, and raised in the city of Guadalajara, Jalisco from the age of eleven months. Her father's job transferred the family there and the Perroni family stayed for over twelve years. She has two siblings, Adolfo and Francisco, who are three and nine years younger than she is.

Perroni studied acting at Televisa's Centro de Educación Artistica (CEA) in the year 2000, completing two years of a three year course.

Career

Acting career

Perroni made her acting debut in Rebelde, a remake of the acclaimed Argentinean novela Rebelde Way. She portrayed Guadalupe "Lupita" Fernández, a teenage girl from a lower class family who gets the opportunity to study at the fictitious Elite Way School. Rebelde ran from 2004 to 2006, filming 440 episodes.

Following the success of Rebelde, in 2007, Televisa released , which starred the members of RBD. The characters of the sitcom were not based on the band's characters in Rebelde, but intended to be similar to the actors' real personalities. was the first Mexican show shot entirely in high definition and ran from March 14, 2007 to June 13, 2007, and only lasted 13 episodes.

In 2008, Maite starred as the lead character in Cuidado con el Ángel, opposite William Levy. The show had great success around the world. She starred in her second leading role in Mi Pecado opposite Eugenio Siller. She was part of the third season of Mujeres Asesinas in the sixth episode called Las Blanco, Viudas along with Diana Bracho, Luz Maria Aguilar and Mark Tacher.

In 2010, Perroni was confirmed to star with her previous co-star, William Levy, in Triunfo del Amor, a remake of the Venezuelan classic Cristal.

Musical career

Perroni was a member of the popular band RBD, which was launched off of the success of the telenovela Rebelde. To date RBD has made 9 studio albums, including albums in Spanish, Portuguese and English. They have sold over 15 million albums worldwide, and have embarked on various international tours including shows throughout Latin America and Europe.

Maite composed "Tal Vez Mañana", for RBD's fourth Spanish language album, Empezar Desde Cero and sang solo on the title track for the album.

On August 8, 2008, RBD released a message telling fans that they had decided to split up. They went on one final tour, Gira Del Adios World Tour, which ended in early 2009. Perroni was absent part of the tour, due to her filming in Cuidado con el Ángel.

For her role in Cuidado con el Ángel, Perroni recorded three songs for the show called "Esta Soledad", "Separada de Ti", and "Contigo".

She recorded a song with Reik, entitled Mi Pecado, which was used as the opening song for the telenovela, Mi Pecado.

On July 17, Perroni released her new single "No Vuelvas", which will be featured on an EP she is releasing for her Brazilian Pocket Show performances, on her website MaiteMVP.com.

She recently recorded a song with Marco di Mauro called "A Partir de Hoy" which forms part of the musical soundtrack of the telenovela she is currently filming called Triunfo del Amor.

Personal life

Perroni was enagaged to Guido Laris, the musical director from RBD, but the pair split in August 2008. She is best friends with Dulce Maria, Anahi, Christian Chavez, Alfonso Herrera, and Christopher Uckermann or the RBD band. On July 2010 she was publicated her relationship with actor Carlos de la Mota,but the pair split in September 2010. In this moment Maite is in the relationship with the singer Mane de la Parra.

Products and endorsements

Maite is the Spokemodel for NYX Cosmetics. In 2007, a Barbie doll version of Perroni was released, based on her character in Rebelde.

In June 2009, Perroni announced her support for the Ecologist Green Party of Mexico. She has starred in several commercials promoting the party.

She started in commercials for Giraffas ,Pepsi ,Helato de Bonice ,Asepxia ,Teleton ,Wal Mart , Ades Cklass ,Hinds ,Pantene.

Awards and honors

In 2006 she won her first award at the Premios TVyNovelas, along with her RBD bandmates, for "Best Theme Song". In March 2009, Maite won "Best Young Actress in a Leading Role" for her performance in Cuidado con el Ángel.`

She won Golden award as a `Female revelation of the decade`.

She won award `Premios juventud` for `La chica que me quita sueno` in 2009.

She was named one of the sexiest and most beautiful Latinas by magazines Quien ,OK ,H para Hombres ,Caras y Maxim.

In 2009, she topped Los 50 Más Bellos list from People en Español, sharing the front cover with Eva Longoria and Ana Bárbara. She was part of the same list in 2010. She was named `Queen of telenovelas` by her fans and Univision channel.

Filmography

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 95%;" |- bgcolor="#CCCCCC" align="center" ! colspan="4" style="background: LightSteelBlue;" | Telenovelas |- bgcolor="#CCCCCC" align="center" ! Year ! Title ! Role ! Notes |- | 2004-2006 | Rebelde | Guadalupe "Lupita" Fernández | 440 episodes (Lead Role) |- | 2007 | Lola...Erase Una Vez | La nueva Cenicienta | 1 episode (Supporting) |- | 2007 | | May | 13 episodes (Lead Role) |- | 2008-2009 | Cuidado con el Ángel | María de Jesús "Marichuy" Velarde | 195 episodes (Lead Role) |- | 2009 | Mi Pecado | Lucrecia Córdoba Pedraza | 110 episodes (Lead Role) |- | 2010 | Mujeres Asesinas 3 | Estela Blanco (Las Blanco,Viudas) | 1 episode (Lead Role) |- | 2010-2011 | El Triunfo del Amor | María Desamparada | 200 episodes (Lead Role) |}

Theatre

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 95%;" |- bgcolor="#CCCCCC" align="center" ! colspan="4" style="background: LightSteelBlue;" | Obras |- bgcolor="#CCCCCC" align="center" ! Year ! Title ! Role |- | 1999 in theatre|1999 | Cyrano de Bergerac | Roxanne Bergerac |- | 2000 in theatre|2000 | Cats | Gato |- | 2001 in theatre|2001 | Usted tiene ojos de mujer fatal | Elena |- | 2002 in theatre|2002 | Los enamorados | Eugenia |- | 2003 in theatre|2003 | Las cosas simples | Matilde |- | 2010 in theatre|2010 | Cena de Matrimonios | Elisa |- |}

Solo Tour

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 95%;" |- bgcolor="#CCCCCC" align="center" ! colspan="4" style="background: LightSteelBlue;" | Tours |- bgcolor="#CCCCCC" align="center" ! Year ! Title |-> | 2010 in solo tour|2010 | Maite Perroni Brazilian Tour 2010 |}

References

Category:1983 births Category:2000s singers Category:2010s singers Category:Living people Category:Mexican female singers Category:Mexican people of Italian descent Category:Mexican songwriters Category:Mexican telenovela actors Category:People from Guadalajara Category:Portuguese-language singers Category:RBD members

Eugene Thomas Puerling (March 31, 1929 - March 25, 2008) was a vocal performer and vocal arranger. He was born in Milwaukee, Wisconsin. Puerling created and led the vocal groups The Hi-Lo's and The Singers Unlimited. He was awarded a Grammy Award for Best Vocal Arrangement for Two or More Voices in 1982 for his arrangement of "A Nightingale Sang in Berkeley Square" (as performed by The Manhattan Transfer). A Latin song he arranged for Singers Unlimited, "One More Time Chuck Corea," has been adapted and used by high school and college marching bands and jazz ensembles. He died just shy of his 79th birthday. His vocal arrangements and chord structures were classic and instantly recognizable. In addition to the Hi-Lo's and The Singers Unlimited he contributed to Rosemary Clooney's TV Show and mentored many other singers and groups, including Take 6. His vocal arranging ability and his ability to arrange musical backing by Frank Comstock's Band and several others was masterful.

Notes

Category:1929 births Category:2008 deaths Category:People from Milwaukee, Wisconsin Category:Musicians from Wisconsin Category:People from Marin County, California Category:American singers Category:Grammy Award winners