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| Name | Bob Hope |
|---|---|
| Caption | Bob Hope in The Ghost Breakers (1940) |
| Birth name | Leslie Townes Hope |
| Birth date | May 29, 1903 |
| Birth place | Eltham, London, England |
| Death date | July 27, 2003 |
| Death place | Toluca Lake, California, U.S. |
| Years active | 1925–2001 |
| Occupation | Actor, Comedian, Author |
| Spouse | Grace Louise Troxell (m.1933)Dolores Hope (1934–2003) |
Bob Hope, KBE, KCSG, KSS (born Leslie Townes Hope; May 29, 1903 – July 27, 2003) was an American comedian and actor who appeared in vaudeville, on Broadway, and in radio, television and movies. He was also noted for his work with the US Armed Forces and his numerous USO shows entertaining American military personnel. Throughout his career, he was honored for his humanitarian work. In 1996, the U.S. Congress honored Bob Hope by declaring him the "first and only honorary veteran of the U.S. armed forces." Bob Hope appeared in or hosted 199 known USO shows.
From the age of 12, he worked at a variety of odd jobs at a local boardwalk. He would busk, doing dance and comedy patter to make extra money (oftentimes on the trolley to Luna Park). He entered many dancing and amateur talent contests (as Lester Hope),
In 1918 at the age of 15 he was admitted (as Lester Hope) to the Boys Industrial School in Lancaster, Ohio. Formerly known as the Ohio Reform School, this was one of the more innovative, progressive institutions for juvenile offenders. As an adult, Hope donated sizable sums of money to the institution.
Silent film comedian Fatty Arbuckle saw one of his performances with his first partner, Lloyd "Lefty" Durbin, and in 1925 got the pair steady work with Hurley's Jolly Follies. Within a year, Hope had formed an act called the Dancemedians with George Byrne and the Hilton Sisters, conjoined twins who had a tap dancing routine. Hope and his partner George Byrne had an act as a pair of Siamese twins as well, and both danced and sang while wearing blackface, before friends advised Hope that he was funnier as himself. In 1929, he changed his first name to "Bob". In one version of the story, he named himself after racecar driver Bob Burman. In another, he said he chose Bob because he wanted a name with a friendly "Hiya Fellas!" sound to it. After five years on the vaudeville circuit, by his own account, Hope was surprised and humbled when he and his partner (and future wife) Grace Louise Troxell failed a 1930 screen test for Pathé at Culver City, California.
Paramount Pictures signed Hope for the 1938 film The Big Broadcast of 1938. During a duet with Shirley Ross as accompanied by Shep Fields and his orchestra, Hope introduced the song later to become his trademark, "Thanks for the Memory", which became a major hit and was praised by critics. The sentimental, fluid nature of the music allowed Hope's writers (whom he is said to have depended upon heavily throughout his career) to later invent endless variations of the song to fit specific circumstances, such as bidding farewell to troops while on tour.
Hope became one of Paramount's biggest stars, and would remain with the studio through the 1950s. Hope's regular appearances in Hollywood films and radio made him one of the best known entertainers in North America, and at the height of his career he was also making a large income from live concert performances. at Walt Disney World's Disney's Hollywood Studios theme park]] As a movie star, he was best known for My Favorite Brunette and the highly successful "Road" movies in which he starred with Bing Crosby and Dorothy Lamour. Hope had seen Lamour as a nightclub singer in New York, and invited her to work on his USO tours. Lamour is said to have arrived for filming prepared with her lines, only to be baffled by completely re-written scripts from Hope's writers without studio permission. Hope and Lamour were lifelong friends, and she is the actress most associated with his film career. Other female co-stars included Paulette Goddard, Lucille Ball, Jane Russell, and Hedy Lamarr.
Hope was host of the Academy Awards ceremony 18 times between 1939 and 1977. His feigned lust for an Academy Award became part of his act. In one scene from Road to Morocco he erupted in a frenzy, shouting about his imminent death from exposure. Bing Crosby reminds him that rescue is just minutes away, and a disappointed Hope complains that Crosby has spoiled his best scene, and thus his chance for an Academy Award. Also, in The Road to Bali, when Crosby finds Humphrey Bogart's Oscar for The African Queen, Hope grabs it, saying "Give me that. You've got one." Although Hope was never nominated for an Oscar for his performances (Bing Crosby won the Best Actor for Going My Way in 1944), the Academy of Motion Picture Arts and Sciences honored him with four honorary awards, and in 1960, the Jean Hersholt Humanitarian Award. While introducing the 1968 telecast, he quipped, "Welcome to the Academy Awards, or, as it's known at my house, Passover."
Hope first appeared on television in 1932 during a test transmission from an experimental CBS studio in New York. In January 1947, Hope was master of ceremonies for the first telecast by California's first television station, KTLA. His career in broadcasting spanned 64 years and included a long association with NBC. Hope made his network radio debut in 1937 on NBC. His first regular series for NBC Radio was the Woodbury Soap Hour. A year later, The Pepsodent Show Starring Bob Hope began, continuing as The New Swan Show in 1948 (for the same sponsor, Lever Brothers). After 1950, the series was known simply as The Bob Hope Show, with Liggett & Myers (1950–52), General Foods (1953) and American Dairy Association (1953–55) as his sponsors, until it finally went off the air in April 1955. Regulars on his radio series included zany Jerry Colonna and Barbara Jo Allen as spinster Vera Vague. and Bob Hope as caricatured by Sam Berman for NBC's 1947 promotional book.]]
Hope did many specials for the NBC television network in the following decades, beginning in April 1950. These were often sponsored by General Motors (1955–61), Chrysler (1963–73) and Texaco (1975–85), and Hope served as a spokesman for both companies for many years and would sometimes introduce himself as "Bob, from Texaco, Hope." Hope's Christmas specials were popular favorites and often featured a performance of "Silver Bells" (from his 1951 film The Lemon Drop Kid) done as a duet with an often much younger female guest star (such as Olivia Newton-John, Barbara Eden, and Brooke Shields).
In October 1956, Hope appeared on an episode of the most-viewed program in America at the time, I Love Lucy. He said, upon receiving the script: "What? A script? I don't need one of these", and ad-libbed the entire episode. Desi Arnaz said of Hope after his appearance: "Bob is a very nice man, he can crack you up, no matter how much you try for him to not." Lucy and Desi returned the favor by appearing on one of his Chevy Show specials (with Vivian Vance and William Frawley) later that season.
Hope's 1970 and 1971 Christmas specials for NBC—filmed in Vietnam in front of military audiences at the height of the war—are on the list of the Top 30 U.S. Network Primetime Telecasts of All Time. Both were seen by more than 60% of the U.S. households watching television.
In 1992, Bob Hope made a guest appearance as himself on The Simpsons, in the episode "Lisa the Beauty Queen" (season 4, episode 4). The episode attracted 11.1 million viewers when it premiered on October 15. His final television special, Laughing with the Presidents, was broadcast in 1996, with Tony Danza helping Hope present a personal retrospective of presidents of the United States known to the comedian.
Of Hope's USO shows in World War II, writer John Steinbeck, who was then working as a war correspondent, wrote in 1943:
A 1997 act of Congress signed by President Clinton named Hope an "Honorary Veteran." He remarked, "I've been given many awards in my lifetime — but to be numbered among the men and women I admire most — is the greatest honor I have ever received."
Hope appeared in so many theaters of war over the decades that it was often cracked (in Bob Hope style) that "Where there's death, there's Hope".
In 2009, Stephen Colbert carried a golf club on stage each night during his own week-long USO performance and taping of The Colbert Report and explained in his last episode that it was an homage to Hope.
Hope rescued Eltham Little Theatre from closure by providing the funds to buy the property, he continued his interest and support and regularly visited when in London. The Theatre was renamed in his honor in 1982.
The Bob Hope Classic was founded in 1960, and is currently the only FedEx Cup tournament that takes place over five rounds. The tournament made history in 1995, when Hope teed up for the opening round in a foursome that included Presidents Gerald R. Ford, George H.W. Bush and Bill Clinton – the only time ever that three presidents participated in a golf foursome.
Hope would frequently use his television specials to promote the annual College Football All-America Team. The team members would enter the stage one by one and introduce themselves, and Hope would then give a one-liner about the player or his school. Hope would often don a football uniform for these presentations.
Hope crafted his very public persona over the years into a monument personifying American values and good will. His trademark style of humor was benign, never crude, rude, or offensive. This image did not wholly coincide with his private life; his womanizing was common knowledge to Hollywood insiders.
Hope celebrated his 100th birthday on May 29, 2003. He is among a small group of notable centenarians in the field of entertainment. To mark this event, the intersection of Hollywood and Vine in Los Angeles, California was named Bob Hope Square and his centennial was declared Bob Hope Day in 35 states. Hope spent the day privately in his Toluca Lake, Los Angeles home where he had lived since 1937. Even at 100, Hope was said to have maintained his self-deprecating sense of humor, quipping, "I'm so old, they've canceled my blood type." He converted to Roman Catholicism and was a devout Catholic.
Beginning in 2000, Hope's health steadily declined and he was hospitalized several times before his death. In June 2000 he spent nearly a week in a California hospital after being hospitalized for gastrointestinal bleeding. In August 2001, he spent close to two weeks in the hospital recovering from pneumonia.
On July 27, 2003, Bob Hope died at his home in Toluca Lake at 9:28 p.m. According to the Soledad O'Brien interview with Hope's grandson Zach, when asked on his deathbed where he wanted to be buried, Hope told his wife, "Surprise me." He was interred in the Bob Hope Memorial Garden at San Fernando Mission Cemetery in Los Angeles, where his mother is also buried.
Category:Actors awarded British knighthoods Category:Academy Honorary Award recipients Category:American centenarians Category:American actors of English descent Category:American Roman Catholics Category:Burlesque performers Category:California Republicans Category:Congressional Gold Medal recipients Category:Converts to Roman Catholicism Category:Deaths from pneumonia Category:20th-century actors Category:English film actors Category:English immigrants to the United States Category:English people of Welsh descent Category:English radio personalities Category:English stand-up comedians Category:English television actors Category:Honorary Knights Commander of the Order of the British Empire Category:Infectious disease deaths in California Category:Kennedy Center honorees Category:Kentucky colonels Category:Actors from London Category:World Golf Hall of Fame inductees Category:Naturalized citizens of the United States Category:Peabody Award winners Category:People from Eltham Category:People from the Greater Los Angeles Area Category:Presidential Medal of Freedom recipients Category:United States National Medal of Arts recipients Category:Vaudeville performers Category:American actors of Welsh descent Category:RCA Victor artists Category:Knights of St. Gregory the Great Category:1903 births Category:2003 deaths Category:People from London Category:People from Cleveland, Ohio
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Dean Martin |
|---|---|
| Background | solo_singer |
| Birth name | Dino Paul Crocetti |
| Alias | Dean MartinThe King of CoolDinoDino Martini |
| Born | June 07, 1917 Steubenville, Ohio, United States |
| Died | December 25, 1995Beverly Hills, California, United States |
| Genre | Big band, pop, country |
| Years active | 1939-1995 (His Death) |
| Occupation | Actor, comedian, singer, producer |
| Label | Capitol, Reprise |
At the age of 15, he was a boxer who billed himself as "Kid Crochet". His prizefighting years earned him a broken nose (later straightened), a scarred lip, and many sets of broken knuckles (a result of not being able to afford the tape used to wrap boxers' hands). Of his twelve bouts, he would later say "I won all but eleven." For a time, he roomed with Sonny King, who, like Martin, was just starting in show business and had little money. It is said that Martin and King held bare-knuckle matches in their apartment, fighting until one of them was knocked out; people paid to watch.
Eventually, Martin gave up boxing. He worked as a roulette stickman and croupier in an illegal casino behind a tobacco shop where he had started as a stock boy. At the same time, he sang with local bands. Calling himself "Dino Martini" (after the then-famous Metropolitan Opera tenor, Nino Martini), he got his first break working for the Ernie McKay Orchestra. He sang in a crooning style influenced by Harry Mills (of the Mills Brothers), among others. In the early 1940s, he started singing for bandleader Sammy Watkins, who suggested he change his name to Dean Martin.
In October 1941, Martin married Elizabeth Anne McDonald. During their marriage (ended by divorce in 1949), they had four children. Martin worked for various bands throughout the early 1940s, mostly on looks and personality until he developed his own singing style. Martin famously flopped at the Riobamba, a high class nightclub in New York, when he succeeded Frank Sinatra in 1943, but it was the setting for their meeting.
Martin repeatedly sold 10 percent shares of his earnings for up front cash. He apparently did this so often that he found he had sold over 100 percent of his income. Such was his charm that most of his lenders forgave his debts and remained friends.
Drafted into the United States Army in 1944 during World War II, Martin served a year stationed in Akron, Ohio. He was then reclassified as 4-F (possibly because of a double hernia; Jerry Lewis referred to the surgery Martin needed for this in his autobiography) and was discharged.
By 1946, Martin was doing relatively well, but was still little more than an East Coast nightclub singer with a common style, similar to that of Bing Crosby. He drew audiences to the clubs he played, but he inspired none of the fanatic popularity enjoyed by Sinatra.
Martin and Lewis's official debut together occurred at Atlantic City's 500 Club on July 24, 1946, and they were not well received. The owner, Skinny D'Amato, warned them that if they did not come up with a better act for their second show later that night, they would be fired. Huddling together in the alley behind the club, Lewis and Martin agreed to "go for broke", to throw out the pre-scripted gags and to improvise. Martin sang and Lewis came out dressed as a busboy, dropping plates and making a shambles of both Martin's performance and the club's sense of decorum until Lewis was chased from the room as Martin pelted him with breadrolls. They did slapstick, reeled off old vaudeville jokes, and did whatever else popped into their heads at the moment. This time, the audience doubled over in laughter. This success led to a series of well-paying engagements on the Eastern seaboard, culminating in a triumphant run at New York's Copacabana. Patrons were convulsed by the act, which consisted primarily of Lewis interrupting and heckling Martin while he was trying to sing, and ultimately the two of them chasing each other around the stage and having as much fun as possible. The secret, both said, is that they essentially ignored the audience and played to one another.
The team made its TV debut on the very first broadcast of CBS-TV network's Toast of the Town Program (later called the Ed Sullivan Show) with Ed Sullivan and Rogers & Hammerstein appearing on this same inaugural telecast of June 20, 1948 (photo archive and IMDB documentation confirmed). A radio series commenced in 1949, the same year Martin and Lewis were signed by Paramount producer Hal B. Wallis as comedy relief for the movie My Friend Irma.
Martin liked California which, because of its earth tremors, had few tall buildings. Suffering as he did from claustrophobia, Martin almost never used elevators, and climbing stairs in Manhattan's skyscrapers was not his idea of fun.
Their agent, Abby Greshler, negotiated for them one of Hollywood's best deals: although they received only a modest $75,000 between them for their films with Wallis, Martin and Lewis were free to do one outside film a year, which they would co-produce through their own York Productions. They also had complete control of their club, record, radio and television appearances, and it was through these endeavors that they earned millions of dollars.
Martin and Lewis were the hottest act in America during the early 1950s, but the pace and the pressure took its toll. Most critics underestimated Martin's contribution to the team, as he had the thankless job of the straight man, and his singing had yet to develop into the unique style of his later years. Critics praised Lewis, and while they admitted that Martin was the best partner he could have, most claimed Lewis was the real talent and could succeed with anyone. However, Lewis always praised his partner, and while he appreciated the attention he was getting, he has always said the act would never have worked without Martin. In Dean & Me, he calls Martin one of the great comic geniuses of all time. But the harsh comments from the critics, as well as frustration with the formulaic similarity of Martin & Lewis movies, which producer Hal Wallis stubbornly refused to change, led to Martin's dissatisfaction. He put less enthusiasm into the work, leading to escalating arguments with Lewis. They finally could not work together, especially after Martin told his partner he was "nothing to me but a dollar sign". The act broke up in 1956, 10 years to the day from the first official teaming.
Splitting up their partnership was not easy. It took months for lawyers to work out the details of terminating many of their club bookings, their television contracts, and the dissolution of York Productions. There was intense public pressure for them to stay together.
Lewis had no trouble maintaining his film popularity alone, but Martin, unfairly regarded by much of the public and the motion picture industry as something of a spare tire, found the going hard. His first solo film, Ten Thousand Bedrooms (1957), was a box office failure. He was still popular as a singer, but with rock and roll surging to the fore, the era of the pop crooner was waning. It looked like Martin's fate was to be limited to nightclubs and to be remembered as Lewis's former partner.
The CBS film, Martin and Lewis, a made-for-TV movie about the famous comedy duo, starred Jeremy Northam as Martin, and Sean Hayes as Lewis. It depicted the years from 1946-1956.
In 1960, Martin was cast in the motion picture version of the Judy Holliday hit stage play Bells Are Ringing. Martin played a satiric variation of his own womanizing persona as Vegas singer "Dino" in Billy Wilder's comedy Kiss Me, Stupid (1964) with Kim Novak, and he was not above poking fun at his image in films such as the Matt Helm spy spoofs of the 1960s, in which he was a co-producer.
As a singer, Martin copied the styles of Harry Mills (of the Mills Brothers), Bing Crosby, and Perry Como until he developed his own and could hold his own in duets with Sinatra and Crosby. Like Sinatra, he could not read music, but he recorded more than 100 albums and 600 songs. His signature tune, "Everybody Loves Somebody", knocked The Beatles' "A Hard Day's Night" out of the number-one spot in the United States in 1964. This was followed by the similarly-styled "The Door is Still Open to My Heart", which reached number six later that year. Elvis Presley was said to have been influenced by Martin, and patterned "Love Me Tender" after his style. Martin, like Elvis, was influenced by country music. By 1965, some of Martin's albums, such as Dean "Tex" Martin, The Hit Sound Of Dean Martin, Welcome To My World and Gentle On My Mind were composed of country and western songs made famous by artists like Johnny Cash, Merle Haggard, and Buck Owens. Martin hosted country performers on his TV show and was named "Man Of the Year" by the Country Music Association in 1966. "Ain't That a Kick in the Head", a song Martin performed in Ocean's Eleven that never became a hit at the time, has enjoyed a spectacular revival in the media and pop culture (which can be traced to its usage in 1993's A Bronx Tale and 1997's Fools Rush In).
For three decades, Martin was among the most popular acts in Las Vegas. Martin sang and was one of the smoothest comics in the business, benefiting from the decade of raucous comedy with Lewis. Martin's daughter, Gail, also sang in Vegas and on his TV show, co-hosting his summer replacement series on NBC. Though often thought of as a ladies' man, Martin spent a lot of time with his family; as second wife Jeanne put it, prior to the couple's divorce, "He was home every night for dinner."
The Martin-Sinatra-Davis-Lawford-Bishop group referred to themselves as "The Summit" or "The Clan" and never as "The Rat Pack", although this has remained their identity in the popular imagination. The men made films together, formed an important part of the Hollywood social scene in those years, and were politically influential (through Lawford's marriage to Patricia Kennedy, sister of President John F. Kennedy).
The Rat Pack were legendary for their Las Vegas performances. For example, the marquee at the Sands Hotel might read DEAN MARTIN---MAYBE FRANK---MAYBE SAMMY. Las Vegas rooms were at a premium when the Rat Pack would appear, with many visitors sleeping in hotel lobbies or cars to get a chance to see the three men together. Their act (always in tuxedo) consisted of each singing individual numbers, duets and trios, along with much seemingly improvised slapstick and chatter. In the socially-charged 1960s, their jokes revolved around adult themes, such as Sinatra's infamous womanizing and Martin's legendary drinking, as well as many at the expense of Davis's race and religion. Davis famously practiced Judaism and used Yiddish phrases onstage, eliciting much merriment from both his stage-mates and his audiences. It was all good-natured male bonding, never vicious, rarely foul-mouthed, and the three had great respect for each other. The Rat Pack was largely responsible for the integration of Las Vegas. Sinatra and Martin steadfastly refused to appear anywhere that barred Davis, forcing the casinos to open their doors to African-American entertainers and patrons, and to drop restrictive covenants against Jews.
Posthumously, the Rat Pack has experienced a popular revival, inspiring the George Clooney/Brad Pitt "Ocean's" trilogy. An HBO film, The Rat Pack, starred Joe Mantegna as Martin, Ray Liotta as Sinatra and Don Cheadle as Davis. It depicted their contribution to JFK's election in 1960.
The TV show was a success. Martin prided himself on memorizing whole scripts – not merely his own lines. He disliked rehearsing because he firmly believed his best performances were his first. The show's loose format prompted quick-witted improvisation from Martin and the cast. On occasion, he made remarks in Italian, some mild obscenities that brought angry mail from offended, Italian-speaking viewers. This prompted a battle between Martin and NBC censors, who insisted on more scrutiny of the show's content. The show was often in the Top Ten. Martin, deeply appreciative of the efforts of the show's producer, his friend Greg Garrison, later made a handshake deal giving Garrison, a pioneer TV producer in the 1950s, 50% ownership of the show. However, the validity of that ownership is currently the subject of a lawsuit brought by NBC Universal.
Despite Martin's reputation as a heavy drinker — a reputation perpetuated via his vanity license plates reading 'DRUNKY' — he was remarkably self-disciplined. He was often the first to call it a night, and when not on tour or on a film location liked to go home to see his wife and children. Phyllis Diller recently confirmed that Martin was indeed drinking alcohol onstage and not apple juice. She also commented that he while not being drunk was not really sober either but had very strict rules when it came to performances. He borrowed the lovable-drunk shtick from Joe E. Lewis, but his convincing portrayals of heavy boozers in Some Came Running and Howard Hawks's Rio Bravo led to unsubstantiated claims of alcoholism. More often than not, Martin's idea of a good time was playing golf or watching TV, particularly westerns – not staying with Rat Pack friends Frank Sinatra and Sammy Davis, Jr. into the early hours of the morning.
Martin starred in and co-produced a series of four Matt Helm superspy comedy adventures. A fifth, The Ravagers, was planned starring Sharon Tate and Martin in a dual role, one as a serial killer, but due to the murder of Tate and the decline of the spy genre the film was never made.
By the early 1970s, The Dean Martin Show was still earning solid ratings, and although he was no longer a Top 40 hitmaker, his record albums continued to sell steadily. His name on a marquee could guarantee casinos and nightclubs a standing-room-only crowd. He found a way to make his passion for golf profitable by offering his own signature line of golf balls. Shrewd investments had greatly increased Martin's personal wealth; at the time of his death, Martin was reportedly the single largest minority shareholder of RCA stock. Martin even managed to cure himself of his claustrophobia by reportedly locking himself in the elevator of a tall building and riding up and down for hours until he was no longer panic-stricken.
Martin retreated from show business. The final (1973–74) season of his variety show would be retooled into one of celebrity roasts, requiring less of Martin's involvement. After the show's cancellation, NBC continued to air the Dean Martin Celebrity Roast format in a series of TV specials through 1984. In those 11 years, Martin and his panel of pals successfully ridiculed and made fun of these legendary stars in this order: Ronald Reagan, Hugh Hefner, Ed McMahon, William Conrad, Kirk Douglas, Bette Davis, Barry Goldwater, Johnny Carson, Wilt Chamberlain, Hubert Humphrey, Carroll O'Connor, Monty Hall, Jack Klugman & Tony Randall, Zsa Zsa Gabor, Leo Durocher, Truman Capote, Don Rickles, Ralph Nader, Jack Benny, Redd Foxx, Bobby Riggs, George Washington, Dan Rowan & Dick Martin, Hank Aaron, Joe Namath, Bob Hope, Telly Savalas, Lucille Ball, Jackie Gleason, Sammy Davis Jr, Michael Landon, Evel Knievel, Valerie Harper, Muhammad Ali, Dean Martin, Dennis Weaver, Joe Garagiola, Danny Thomas, Angie Dickinson, Gabe Kaplan, Ted Knight, Peter Marshall, Dan Haggerty, Frank Sinatra, Jack Klugman, Jimmy Stewart, George Burns, Betty White, Suzanne Somers, Joan Collins, and Mr T. For nearly a decade, Martin had recorded as many as four albums a year for Reprise Records. That stopped in November 1974, when Martin recorded his final Reprise album - Once In A While, released in 1978. His last recording sessions were for Warner Brothers Records. An album titled The Nashville Sessions was released in 1983, from which he had a hit with "(I Think That I Just Wrote) My First Country Song", which was recorded with Conway Twitty and made a respectable showing on the country charts. A followup single "L.A. Is My Home" / "Drinking Champagne" came in 1985. The 1975 film Mr. Ricco marked Martin's final starring role, and Martin limited his live performances to Las Vegas and Atlantic City.
Martin seemed to suffer a mid-life crisis. In 1972, he filed for divorce from his second wife, Jeanne. A week later, his business partnership with the Riviera was dissolved amid reports of the casino's refusal to agree to Martin's request to perform only once a night. He was quickly snapped up by the MGM Grand Hotel and Casino, and signed a three-picture deal with MGM Studios. Less than a month after his second marriage had been legally dissolved, Martin married 26-year-old Catherine Hawn on April 25, 1973. Hawn had been the receptionist at the chic Gene Shacrove hair salon in Beverly Hills. They divorced November 10, 1976. He was also briefly engaged to Gail Renshaw, Miss World-U.S.A. 1969.
Eventually, Martin reconciled with Jeanne, though they never remarried. He also made a public reconciliation with Jerry Lewis on Lewis' Labor Day Muscular Dystrophy Association telethon in 1976. Frank Sinatra shocked Lewis and the world by bringing Martin out on stage. As Martin and Lewis embraced, the audience erupted in cheers and the phone banks lit up, resulting in one of the telethon's most profitable years. Lewis reported the event was one of the three most memorable of his life. Lewis brought down the house when he quipped, "So, you working?" Martin, playing drunk, replied that he was "at the Meggum" – this reference to the MGM Grand Hotel convulsed Lewis . This, along with the death of Martin's son Dean Paul Martin a few years later, helped to bring the two men together. They maintained a quiet friendship but only performed together again once, in 1989, on Martin's 72nd birthday.
Martin returned to films briefly with appearances in the two star-laden yet critically panned Cannonball Run movies,. He also had a minor hit single with "Since I Met You Baby" and made his first music video, which appeared on MTV. The video was created by Martin's youngest son, Ricci.
On December 8, 1989, Martin attended Sammy Davis Jr.'s 60th Anniversary Special.
Martin, a life-long smoker, was diagnosed with lung cancer at Cedars Sinai Medical Center on 16 September 1993. He died of acute respiratory failure resulting from emphysema at his Beverly Hills home on Christmas morning 1995, at the age of 78. The lights of the Las Vegas Strip were dimmed in his honor.
An annual "Dean Martin Festival" celebration is held in Steubenville. Impersonators, friends and family of Martin, and various entertainers, many of Italian ancestry, appear.
In 2005, Las Vegas renamed Industrial Road as Dean Martin Drive. A similarly named street was dedicated in 2008 in Rancho Mirage, California.
Martin's family was presented a gold record in 2004 for Dino: The Essential Dean Martin, his fastest-selling album ever, which also hit the iTunes Top 10. For the week ending December 23, 2006, the Dean Martin and Martina McBride duet of "Baby, It's Cold Outside" reached #7 on the R&R; AC chart. It also went to #36 on the R&R; Country chart - the last time Martin had a song this high in the charts was in 1965, with the song "I Will", which reached #10 on the Pop chart.
An album of duets, Forever Cool, was released by Capitol/EMI in 2007. It features Martin's voice with Kevin Spacey, Shelby Lynne, Joss Stone, Big Bad Voodoo Daddy, Robbie Williams, McBride and others.
His footprints were immortalized at Grauman's Chinese Theater in 1964. Martin has not one but three stars on the Hollywood Walk of Fame: One at 6519 Hollywood Blvd. (for movies), one at 1817 Vine (for recordings) and one at 6651 Hollywood Boulevard (for television).
In February 2009, Martin was honored with a posthumous Grammy award for Lifetime Achievement. Four of his surviving children, Gail, Deana, Ricci and Gina, were on hand to accept on his behalf. In 2009, Martin was inducted into the Hit Parade Hall of Fame.
Martin's second wife was Jeanne Biegger. A stunning blonde, Jeanne could sometimes be spotted in Martin's audience while he was still married to Betty. Their marriage lasted twenty-four years (1949–1973) and produced three children. Their children were Dean Paul (November 17, 1951 - March 21, 1987; plane crash), Ricci James (born September 20, 1953) and Gina Caroline (born December 20, 1956).
Martin's third marriage, to Catherine Hawn, lasted three years. One of Martin's managers had spotted her at the reception desk of a hair salon on Rodeo Drive, then arranged a meeting. Martin adopted Hawn's daughter, Sasha, but their marriage also failed. Martin initiated divorce proceedings. Martin's uncle was Leonard Barr, who appeared in several of his shows.
Category:1917 births Category:1995 deaths Category:Actors from Pittsburgh, Pennsylvania Category:American comedians Category:American crooners Category:American film actors Category:American male singers Category:Burials at Westwood Village Memorial Park Cemetery Category:Cancer deaths in California Category:Capitol Records artists Category:Deaths from emphysema Category:Deaths from lung cancer Category:Deaths from respiratory failure Category:American jazz musicians of Italian descent Category:American jazz musicians of Sicilian descent Category:American musicians of Italian descent Category:American people of Italian descent Category:American people of Sicilian descent Category:American baritones Category:Actors from Ohio Category:Musicians from Ohio Category:People from Steubenville, Ohio Category:Ohio Republicans Category:Republicans (United States) Category:California Republicans Category:Musicians from Pittsburgh, Pennsylvania Category:Traditional pop music singers
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| Name | Johnny Carson |
|---|---|
| Caption | Carson in January 1966 |
| Birth name | John William Carson |
| Birth date | October 23, 1925 |
| Birth place | Corning, Iowa |
| Death date | January 23, 2005 |
| Death place | Los Angeles, California |
| Nationality | American |
| Active | 1950–1994 |
| Signature | Johnny Carson Signature.svg |
| Influences | Groucho Marx, Jack Benny, Fred Allen, Bob Hope, Laurel and Hardy, Red Skelton, George Burns, Milton Berle |
| Influenced | Ray Combs, Ellen DeGeneres, Kathy Griffin, Bill Hicks, Jay Leno, David Letterman, Bill Maher, Conan O'Brien, Jerry Seinfeld, Garry Shandling |
| Spouse | Joan Morrill Wolcott (1949–1963)Joanne Copeland (1963–1972)Joanna Holland (1972–1985)Alexandra Mass (1987–2005) |
| Notable work | Host of The Tonight Show Starring Johnny Carson |
Although his show was already hugely successful by the end of the 1960s, it was during the 1970s that he became an American icon and the "best guest" in American homes up until his retirement in 1992. Carson is credited with molding modern television late night talk shows, transitioning the format from Ed Sullivan's era of post-war vaudeville-derived variety where the host was merely an announcer of acts, to today's more casual, conversational approach with extensive interaction with guests. Late night hosts David Letterman, Jay Leno, Conan O'Brien, Craig Ferguson and Jimmy Fallon have all cited Carson's influence on their late night talk shows, which greatly resemble Carson's show in format and tone.
The Pennsylvania was torpedoed on August 12, 1945 and Carson reported for duty on August 14 — the last day of the war. Although he arrived too late for combat, he got a firsthand education in the consequences of war. The damaged warship sailed to Guam for repairs, and as the newest and most junior officer, Carson was assigned to supervise the removal of 20 dead sailors. He later served as a communications officer in charge of decoding encrypted messages. He recalls that the high point of his military career was performing a magic trick for United States Secretary of the Navy James V. Forrestal.
He began his performing career in 1950 at WOW radio and television in Omaha, Nebraska. He appeared on radio with Ken Case, an Omaha native who was later a news anchor and sportscaster in Monroe, Louisiana. Carson soon hosted a morning television program called The Squirrel's Nest. One of his routines involved interviewing pigeons on the roof of the local courthouse that would allegedly report on the political corruption they had seen. Carson supplemented his income by serving as master of ceremonies at local church dinners, attended by some of the same politicians and civic leaders that he had lampooned on the radio. The wife of one of the political figures owned stock in a radio station in Los Angeles and referred Carson to her brother, who was influential in the emerging television market in Southern California. Carson went to work at CBS-owned Los Angeles television station KNXT. He would later joke that he owed his success to the birds of Omaha.
In 1953, comic Red Skelton — a fan of Carson's sketch comedy show Carson's Cellar, which appeared from 1951 to 1953 on KNXT — asked Carson to join his show as a writer. Skelton once accidentally knocked himself unconscious an hour before his show went on the air live. Carson filled in for him.
In 1955, Jack Benny invited Carson to appear on one of his programs, during the opening and closing segments. Carson imitated Benny and claimed that Benny had copied his gestures. Benny, however, predicted that Carson would have a successful career as a comedian.
Carson hosted several shows before The Tonight Show, including the game show Earn Your Vacation (1954), and the variety show The Johnny Carson Show (1955–1956). He was a regular panelist on the original To Tell the Truth until 1962. After the prime time The Johnny Carson Show failed, he moved to New York City to host Who Do You Trust? (1957–1962), formerly known as Do You Trust Your Wife?. In 1958, he appeared as a guest star in an episode entitled "Do You Trust Your Wife" on NBC's short-lived variety show, The Polly Bergen Show. It was on Who Do You Trust? that Carson met his future sidekick, Ed McMahon. Although he saw moving to daytime as hurting his career, Who Do You Trust? was a success. It was the first show where he could ad lib and interview guests.
Although he continued to have doubts about his new job, Carson became host of The Tonight Show Starring Johnny Carson in October 1962 and quickly overcame his fears. His announcer and sidekick was Ed McMahon throughout the program. McMahon's opening line, "Heeeere's Johnny" became a hallmark. Most of the later shows began with music and the announcement "Heeeeeere's Johnny!", followed by a brief monologue by Carson. This was often followed by comedy sketches, interviews, and music. Carson's trademark was a phantom golf swing at the end of his monologues, aimed stage left where the Tonight Show Band was. Guest hosts sometimes parodied that gesture. Bob Newhart rolled an imaginary bowling ball toward the audience. Johnny enjoyed what he calls the "Carson Kits," or beautiful girls to dress his show. Theona Bryant, a favorite, was a model. The other "Carson Cuties" were Phyllis Applegate, Norma Brooks, and Sally Todd.
Paul Anka wrote the theme song ("Johnny's Theme"), a reworking of his "Toot Sweet", given lyrics, renamed "It's Really Love," and recorded by Annette Funicello in 1959. Anka gave Carson co-authorship and they split the royalties for three decades.
The show was originally produced in New York City, with occasional stints in California. It was not live in its early years, although during the 1970s, NBC fed the live taping from Burbank to New York via satellite for editing (see below). The program had been done "live on tape" (uninterrupted unless a problem occurred) since the Jack Paar days.
After July 1971, Carson stopped doing shows five days a week. Instead, on Monday nights there was a guest host, leaving Carson to do the other four each week. Shows were taped in Burbank at 5:30pm (8:30 pm Eastern time) to be shown that evening at 11:30pm Eastern time. On September 8, 1980, at Carson's request, the show cut its 90-minute format to 60 minutes; Tom Snyder's Tomorrow added a half hour to fill the vacant time. Joan Rivers became the "permanent" guest host from September 1983 until 1986, when she was fired for accepting a competing show on Fox without consulting Carson. The Tonight Show returned to using rotating guest hosts, including comic George Carlin. Jay Leno then became the exclusive guest host in fall 1987. Leno stated that although other guest hosts upped their fees, he kept his low, assuring himself the show. Eventually, Monday night was for Leno, Tuesday for the Best of Carson, rebroadcasts usually of a year earlier but occasionally from the 1970s.
Carson had a talent for quick quips to deal with problems. If the opening monologue fared poorly, the band would start playing "Tea for Two" and Carson danced, to laughs from the studio audience. Alternately, Carson might pull the boom mic close to his face and announce "Attention K-Mart shoppers!"
Carson's show was the launch for many performers, notably comedians. Many got their break on the show, and it was an achievement to get Carson to laugh and be called to the guest chair. Carson was successor to The Ed Sullivan Show as a showcase for all kinds of talent, as well as continuing a vaudeville-style variety show.
In 1973, Carson had a run-in with psychic Uri Geller. Carson, a magician, wanted a neutral demonstration of Geller's abilities, so, at the advice of his friend and fellow magician James Randi, he gave Geller spoons and asked him to bend them with his psychic powers. Geller proved unable, and his appearance on The Tonight Show has been regarded as Geller's fall from glory.
Carson successfully sued a manufacturer of portable toilets who wanted to call its product "Here's Johnny".
Another famous feud came on the heels of an appearance by author Truman Capote in 1966. The diminutive writer was already embroiled in a public feud with fellow novelist Jacqueline Susann when he told Johnny — and millions of viewers — that Susann looked "like a truck driver in drag." The remark was not censored from the broadcast, and made headlines the next day. Capote subsequently issued a public apology — to truck drivers.
Carson reportedly loathed what he felt was disloyalty among friends. The comedian was displeased when former "Tonight Show" guest hosts John Davidson and Joan Rivers got their own talk shows. Rivers' FOX show directly competed with Carson during the 1986-1987 season, and died a quick death. On June 24, 2009 following Ed McMahon's death, Rivers lauded McMahon on "Larry King Live" but stated that Carson "never again spoke to me, up to his death". Another guest host, Jay Leno, was treated coolly for being perceived as ushering Carson into retirement. Leno's agent ignited the then-false rumor in Hollywood circles that Carson's retirement was pending, and Leno was heir to the "Tonight Show". Carson vowed not to return to the show while Leno headed it, and indeed would make his final TV appearance about a year after his retirement on the competing Late Show with David Letterman.
Some of Carson's good-natured barbs were directed at his friends. Ronald Reagan's hair and Frank Sinatra's temper and mob connections were frequent topics. Carson humorously chided Nancy Reagan for falling down and "breaking her hair."
At the same time, however, satellite ground stations owned by private individuals began to appear, and some managed to find the live feed. Satellite dish owners began to document their sightings in technical journals, giving viewers knowledge of things they were not meant to see. Carson and his production staff grew concerned about this, and pressured NBC into ceasing the satellite transmissions of the live taping in the early 1980s. The satellite link was replaced by microwave landline transmission until the show's editing facilities were finally moved to Burbank.
Carson was head of a group of show business people and businessmen who purchased and operated two television stations — channel 5 KVVU-TV in Henderson, Nevada, serving Las Vegas, now owned by Meredith Broadcasting, and channel 23 KNAT in Albuquerque, New Mexico. KVVU had been the earliest Las Vegas independent station and was sort of a local in-joke for its threadbare operation and ragtag program lineup. Many thought it ironic that a leading entertainer like Carson, along with Sal Durante, Neil Simon and others, would own such a station. There was talk at the time that the station would become the NBC affiliate, as then long-time affiliate KORK-TV was in the process of being replaced by KVBC-TV, but it never happened. KNAT started at exactly the wrong time. Several new channels — 2, 9, 11, 14, and 23 — were starting up in the southwest and the competition for good syndicated shows was fierce. KNAT was later sold to Trinity Broadcasting.
Carson's other business ventures included a successful clothing line, through which his turtlenecks became a fashion trend, and a failed restaurant franchise.
NBC gave the role of host to the show's then-current permanent guest host, Jay Leno. Leno and David Letterman were soon competing on separate networks.
Despite his on-camera demeanor, Carson was very shy off-camera. He was referred to as "the most private public man who ever lived". Dick Cavett recalled that "I felt sorry for Johnny in that he was so socially uncomfortable. I've hardly ever met anybody who had as hard a time as he did."
In 1963, Carson got a "quickie" Mexican divorce from Joan and married Joanne Copeland on August 17, 1963. After a protracted divorce in 1972, Copeland received nearly half a million dollars in cash and art and US$100,000 a year in alimony for life.
Joanne Copeland recently discovered 39 episodes of the debut season of The Johnny Carson Show which were originally telecast in 1955 and 1956. She then made an arrangement with Shout! Factory to produce and distribute selected programs on DVD. The two-disk DVD set contains Johnny's "top 10" episodes. Johnny's first wife Joan and the couple's three sons appear in the first episode on the DVD.
At the Carson Tonight Show's 10th anniversary party on September 30, 1972, Carson announced that he and former model Joanna Holland had been secretly married that afternoon, shocking his friends and associates. Carson kidded that he had married three similarly named women to avoid "having to change the monogram on the towels." A similar joke was made by Bob Newhart during Carson's roast by Dean Martin. On March 8, 1983, Holland filed for divorce. Under California's community property laws, she was entitled to 50 percent of all the assets accumulated during the marriage, even though Carson earned virtually 100 percent of the couple's income. During this period, he joked on The Tonight Show, "My producer, Freddy de Cordova, really gave me something I needed for Christmas. He gave me a gift certificate to the Law Offices of Jacoby & Meyers." The divorce case finally ended in 1985 with an 80-page settlement, Holland receiving $20 million in cash and property.
Carson married Alexandra Mass on June 20, 1987; Johnny was 61, Alexis 35.
In November 2004, Carson announced a $5.3 million gift to the University of Nebraska Foundation to support the Hixson-Lied College of Fine and Performing Arts' Department of Theatre Arts, which created the Johnny Carson School of Theatre and Film. Another $5 million donation was announced by the estate of Carson to the University of Nebraska following his death.
Carson also donated to causes in his hometown of Norfolk, including the Carson Cancer Center at Faith Regional Health Services, the Elkhorn Valley Museum, and the Johnny Carson Theater at Norfolk Senior High School.
In August 2010, the charitable foundation created by Johnny Carson reported receiving $156 million from a personal trust established by the entertainer years prior to his January 2005 death. Carson's foundation was now by far the biggest of Hollywood charities. (from Smoking Gun )
Also an amateur drummer, Carson was shown on a segment of 60 Minutes practicing at home on a drum set given to him by close friend Buddy Rich, who was the jazz musician with the most appearances on The Tonight Show. Writer Gore Vidal, another frequent Tonight Show guest and friend, writes about Carson's personality in his 2006 memoirs.
At 6:50 AM PST on January 23, 2005, Carson died at Cedars-Sinai Medical Center in Los Angeles, of respiratory arrest arising from emphysema. He was 79 years old. Carson had revealed his illness to the public in September 2002. Following Carson's death his body was cremated, and the ashes were given to his wife. In accordance with his family's wishes, no public memorial service was held. There were numerous tributes paid to Carson upon his death, including a statement by then President George W. Bush, recognizing the deep and enduring affection held for him.
On January 24, 2005, The Tonight Show with Jay Leno paid tribute to Carson with guests Ed McMahon, Bob Newhart, Don Rickles, Drew Carey and k.d. lang. Letterman followed suit on January 31 with former Tonight Show executive producer Peter Lassally and bandleader Doc Severinsen. During the beginning of this show, Letterman said that for 30 years no matter what was going on in the world, no matter whether people had a good or bad day, they wanted to end the day by being "tucked in by Johnny." Letterman also told his viewers that the monologue he had just given had consisted entirely of jokes sent to him by Carson in the last few months of his life. Doc Severinsen ended the Letterman show that night by playing one of Carson's two favorite songs, "Here's That Rainy Day" (the other was "I'll Be Seeing You"). It had been reported over the decades of Carson's fame that he was, off-camera, so intensely private that he had never once invited McMahon to his home. After Carson's death, though, McMahon disputed those rumors and claimed that a close friendship existed. On his final Tonight Show appearance, Carson himself said that while sometimes people who work together for long stretches of time on television don't necessarily like each other, this was not the case with him and McMahon: They were good friends who would have dinner together, and the camaraderie that they had on the show could not be faked. Carson and McMahon were friends for 30 years.
A week or so after the tributes, Dennis Miller was on the Tonight Show and told Jay Leno about the first time he tried to host a talk show, and how miserably it went. He said that he got a call immediately after the first show, from Carson, telling him, "It's not as easy as it looks, is it, kid?"
The 2005 film The Aristocrats was dedicated to Carson, as well as The Simpsons episode Mommie Beerest.
Category:1925 births Category:2005 deaths Category:American game show hosts Category:American skeptics Category:American stand-up comedians Category:American television talk show hosts Category:American military personnel of World War II Category:Deaths from emphysema Category:Disease-related deaths in California Category:Entertainers from Nebraska Category:University of Nebraska–Lincoln alumni Category:United States Navy officers Category:Presidential Medal of Freedom recipients Category:Emmy Award winners Category:Kennedy Center honorees Category:Peabody Award winners Category:People from Adams County, Iowa
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| Name | Jay Deushe |
|---|---|
| Caption | Rickles on stage at the Tropicana Hotel and Casino in Atlantic City on January 12, 2008 |
| Name | Don Rickles |
| Birth name | Donald Jay Rickles |
| Birth date | May 08, 1926 |
| Birth place | Queens, New York, United States |
| Medium | Stand-up, television, film |
| Nationality | American |
| Active | 1948–present |
| Genre | Improvisational comedy, observational comedy, musical comedy, insult comedy | |
| Subject | American culture, race relations, self-deprecation, marriage, everyday life, Jewish humor, pop culture |
| Influences | Milton Berle |
| Influenced | Jay Leno,David Letterman,Howard Stern,Russell Peters, Dave Attell, Lisa Lampanelli |
| Spouse | Barbara Sklar (1965–present) |
| Notable work | Hello Dummy!Q M 1/C Ruby in Run Silent, Run DeepSgt. Crapgame in Kelly's HeroesBilly Sherbert in CasinoMr. Potato Head in the Toy Story franchise}} |
Donald Jay "Don" Rickles (born May 8, 1926) (then in the Russian Empire), and Etta (Feldman) Rickles, born in New York to immigrant parents from the Austrian Empire. His family was Jewish and spoke Yiddish at home. Rickles grew up in the Jackson Heights area.
After graduating from Newtown High School, Rickles enlisted in the U.S. Navy and served during World War II on the USS Cyrene as a seaman first class. He was honorably discharged in 1946. Two years later, he studied at the American Academy of Dramatic Arts and then played bit parts on television. Frustrated by a lack of acting work, Rickles began doing stand-up comedy. He became known as an insult comedian by responding to his hecklers. The audience enjoyed these insults more than his prepared material, and he incorporated them into his act. When he began his career in the early 1950s (as he said on April 15, 2009 on The Tonight Show with Jay Leno), he started calling ill-mannered members of the audience a Hockey Puck. His style was similar to an older insult comic, Nickname "Mr. Warmth" Jack E. Leonard, though Rickles denies that Leonard influenced his style.
Rickles earned the nicknames "The Merchant of Venom" and "Mr. Warmth" for his insult comedy, in which he pokes fun at people of all ethnicities and walks of life. When he is introduced to an audience or on a television talk show, Spanish matador music, "La Virgen de la Macarena", will usually be played, subtly foreshadowing that someone is about to be metaphorically gored. Rickles has said, "I always pictured myself facing the audience as the matador." The same year he starred in his own variety show on ABC, The Don Rickles Show, with comedy writer Pat McCormick as his sidekick. The show lasted one season. During the 1960s, Rickles made guest appearances on The Dick Van Dyke Show, The Munsters, Gilligan's Island, Get Smart, The Andy Griffith Show and I Dream of Jeannie.
In 1976, he starred in the sitcom C.P.O. Sharkey, which lasted two seasons. The show is primarily remembered for the cigarette box incident when Johnny Carson visited during an episode's taping because he was "incensed" that Rickles broke his cigarette box while Bob Newhart was guest-hosting. The incident was often replayed in Tonight Show retrospectives and was considered a highlight of the 1970s era of the show.
Rickles occasionally appeared as a panelist on Hollywood Squares:
Q. You go down to a brook and you catch a frog. Then you rub it on your face! Just what is that supposed to do? Rickles: That's supposed to put you in the state hospital!
He was depicted in comic book form by Jack Kirby during his work on the Superman's Pal Jimmy Olsen series.
In 1985, when Frank Sinatra was asked to perform at Ronald Reagan's Second Inaugural Ball, he stipulated he would not perform unless Rickles was allowed to perform with him. Rickles considers this performance the highlight of his career. He has no plans to retire as he recently said in an interview: "I'm in good health. I'm working better than I ever have. The audiences are great. Why should I retire? I'm like a fighter. The bell rings and you come out and fight. My energy comes alive. And I still enjoy it."
In February 2007, Rickles made a cameo appearance as himself in a strange, recurring dream sequence that was woven through an episode titled "Sub Conscious" of the CBS dramatic series, The Unit.
Rickles' memoir, titled Rickles' Book, was released on May 8, 2007 by Simon & Schuster. , a documentary about Rickles directed by John Landis, made its debut on HBO on December 2, 2007. Rickles himself won a Primetime Emmy for this documentary in 2008.
Rickles reprised the role of Mr. Potato Head in the Toy Story Midway Mania! attraction at Disney's California Adventure and Disney's Hollywood Studios. He voiced the character again in Toy Story 3.
In 2010, he appeared in a commercial during Super Bowl XLIV as a talking rose.
On June 27, 2010, he appeared on the 37th Annual Daytime Emmy Awards on CBS TV.
Rickles is a life-long Democrat. However, he performed at the inaugurations of Republican presidents Ronald Reagan and George H.W. Bush with his friend Frank Sinatra.
Rickles considers comedian Bob Newhart to be his best friend. Rickles, Newhart, and their wives often vacation together. Rickles and Newhart appeared together on The Tonight Show with Jay Leno on January 24, 2005, the Monday following Johnny Carson's death, reminiscing about their many guest appearances on Carson's show, including footage of the infamous "cigarette box incident".
In early 2009, Rickles met Kathy Griffin's mother, Maggie, to fulfill one item on Maggie's "bucket list". The episode aired on July 6, 2009.
When asked by an interviewer if he ever worried that his insult comedy might ever become too offensive, Rickles replied, "You know, every night when I go out on stage to do my comedy routines, there's always one nagging fear in the back of my mind. I'm always afraid that somewhere out there, there is one person in the audience that I'm NOT going to offend!"
Rickles is known for saying the word "anyway" following most of his comedic insults. He has demonstrated this through many performances over the years on The Tonight Show with Johnny Carson and the Late Show with David Letterman.
Category:1926 births Category:Living people Category:American comedians Category:American film actors Category:American Jews Category:American people of Austrian-Jewish descent Category:American people of Lithuanian-Jewish descent Category:American military personnel of World War II Category:American stand-up comedians Category:Jewish comedians Category:People from Jackson Heights, Queens Category:Actors from New York Category:United States Navy sailors
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| Name | Phil Silvers |
|---|---|
| Birth name | Philip Silver |
| Birth date | May 11, 1911 |
| Birth place | Brooklyn, New York,United States |
| Death date | November 01, 1985 |
| Death place | Century City, CaliforniaUnited States |
| Spouse | Jo-Carroll Dennison (1945–1950) (divorced)Evelyn Patrick (1956–1966) (divorced) 5 children |
| Occupation | Actor |
| Years active | 1937–1983 |
Phil Silvers (May 11, 1911 – November 1, 1985) was an American entertainer and comedy actor, known as "The King of Chutzpah." He is best known for starring in The Phil Silvers Show, a 1950s sitcom set on a U.S. Army post in which he played Sergeant Bilko.
Silvers started entertaining at age 11, when he would sing in theaters when the projector broke down (a common occurrence in those days). Two years later, he left school to sing professionally, before appearing in vaudeville as a stooge.
Silvers then landed work in short films for the Vitaphone studio, burlesque houses, and on Broadway, where he made his debut in the short-lived show Yokel Boy. Critics raved about Silvers, who was hailed as the bright spot in the mediocre play. He then wrote the revue High Kickers, until he went to Hollywood to appear in films.
He made his film debut in Hit Parade of 1941 in 1940 (his previous appearance as a 'pitch man' in Strike Up the Band was cut). Over the next two decades, he worked as a character actor for MGM, Columbia, and 20th Century Fox, in such films as Lady Be Good, Coney Island, Cover Girl, and Summer Stock. When the studio system began to decline, he returned to the stage.
Silvers wrote the lyrics for Frank Sinatra's "Nancy (With the Laughing Face)". Although he was not a songwriter, he wrote the lyrics while visiting composer Jimmy Van Heusen. The two composed the song for Van Heusen's writing partner Johnny Burke, for his wife Bessie's birthday. Substituting Sinatra's little daughter's name Nancy at her birthday party, the trio impressed the singer to record it himself. The song became a popular hit in 1944 and was a staple in Sinatra's live performances.
Silvers scored a major triumph in Top Banana, a Broadway show of 1952. Silvers played Jerry Biffle, the egocentric, always-busy star of a major television show. (The character is said to have been based on Milton Berle.) Silvers dominated the show and won a Tony Award for his performance. He repeated the role in the 1954 film version that was originally released in 3-D.
Throughout the 1960s he appeared internationally in films such as It's a Mad, Mad, Mad, Mad World and 40 Pounds of Trouble. He was featured in Marilyn Monroe's last film, the unfinished Something's Got to Give. In the 1963–1964 television season, he appeared as Harry Grafton, a factory foreman interested in get-rich-quick schemes, much like the previous Bilko character, in CBS's 30-episode The New Phil Silvers Show, with co-stars Stafford Repp, Herbie Faye, Buddy Lester, Elena Verdugo as his sister, Audrey, and her children, played by Ronnie Dapo and Sandy Descher. In 1967 he starred as a guest in one of the British Carry On films, Follow That Camel, a Foreign Legion parody in which he played a variation of the Sergeant Bilko character, Sergeant Nocker. Producer Peter Rogers employed him to ensure the Carry On films' success in America. His salary was £30,000, the largest Carry On salary ever, only later met by the appearance of Elke Sommer in Carry On Behind. Silvers' presence did not ensure the film's success on either side of the Atlantic.
Silvers was offered the leading role of conniving Roman slave Pseudolus in the Broadway musical comedy A Funny Thing Happened on the Way to the Forum. Silvers declined, and the role went instead to Zero Mostel, who was so successful in the role that he repeated the role in the 1966 film version. By this time Silvers realized his error, and agreed to appear in the film as a secondary character, flesh merchant Marcus Lycus. When actor-producer Larry Blyden mounted a Broadway revival of Forum in 1972, he wanted Phil Silvers to play the lead, and this time Silvers agreed. The revival was a big hit and Silvers became the first actor ever to win a Tony Award in a revival of a show.
Silvers also guested on The Beverly Hillbillies, and various TV variety shows such as The Carol Burnett Show, Rowan & Martin's Laugh-In, and The Dean Martin Show. Perhaps Silvers' most memorable guest appearance was as curmudgeonly Hollywood producer Harold Hecuba in an episode (titled "The Producer") on Gilligan's Island, where he and the castaways performed a musical version of Hamlet (Silvers' production company Gladasya – named after his catchphrase "Gladdaseeya!" – financed the show).
A frail Silvers, interviewed before his death, revealed one of his secrets: "I’m an impatient comedian. And I feel the audience is as impatient as me."
Silvers died on November 1, 1985 in Century City, California at the age of 74. The cause of death was a heart attack. He was interred at Mount Sinai Memorial Park Cemetery in Los Angeles.
Silvers was as compulsive a gambler as his legendary comic character Sgt. Bilko. He suffered from depression on and off over the years. His memoirs were titled This Laugh Is On Me.
While staying in Reno, Nevada, in the 1950s, he would often gamble all night. After heading over Mount Rose to Lake Tahoe one evening, Silvers came in and “took over” the craps game at the tiny Cal-Vega Lodge. Starting with a $50 buy-in, he told one-liners and began to really enjoy himself. Gambling was “bigger than life” for Silvers, and soon so were his bets. The club had a $200 maximum per number at craps, but the dice stayed hot and Silvers filled the rail around himself with chips. When the dice got cold, the chips began disappearing. That didn’t matter to the players, as Silvers continued to tell jokes and generally “harass” the dealers. Unfortunately, as often happened, his luck stayed bad.
Soon the rails were empty and so was Silvers’ wallet. He asked for credit and went through another $1,000. At that point a taxi was called and he was taken back to Reno. It was “One of the worst nights of my life”, said Silvers to the driver, then added, “Don’t wait for any lights and don’t wait for any tip, I left it at the Cal-Vega.”
Famed voice actor Daws Butler employed an impression of Silvers as the voice of the Hanna-Barbera cartoon character Hokey Wolf and also used the same voice in numerous cartoons for Jay Ward. Furthermore, the premise of The Phil Silvers Show was the basis for the Hanna-Barbera cartoon Top Cat, for which Arnold Stang moderately imitated Silvers' voice for the title character. The 1993 cartoon series The Adventures of Sonic the Hedgehog featured a character called Wes Weasley, who had a very similar appearance and voice to him.
The Playboy cartoon "Little Annie Fanny" featured the character of manager Solly Brass, who was based on Phil Silvers.
In The Simpsons episode "Homer the Vigilante" (Episode #1F09, 6 January 1994), Bart tricks Phil Silvers' character Otto Meyer from the 1963 classic It's a Mad, Mad, Mad, Mad World to drive into a river. The character is replicated precisely in looks and mannerisms, including the type of car and its direction of travel. This character also is later seen rubbing his hands together and peering into the hole in anticipation as the treasure-seekers gather under a "Big T" (similar to the "Big W" in the movie).
Category:1911 births Category:1985 deaths Category:American actors Category:American comedians Category:Burlesque performers Category:Cardiovascular disease deaths in California Category:Deaths from myocardial infarction Category:Jewish actors Category:Jewish comedians Category:Jewish comedy and humor Category:People from Brooklyn Category:People from New York City Category:American people of Russian-Jewish descent Category:Tony Award winners Category:Vaudeville performers
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| Name | Paulette Goddard |
|---|---|
| Caption | in Modern Times (1936) |
| Birth name | Marion Pauline Levy |
| Birth date | June 03, 1910 |
| Birth place | Whitestone Landing, Queens, New York, USA |
| Death date | April 23, 1990 |
| Death place | Ronco sopra Ascona, Ticino, Switzerland |
| Years active | 1929–1972 |
| Occupation | Actress |
| Spouse | Edgar James (1927–1931) Charles Chaplin (1936–1942) Burgess Meredith (1944–1950) Erich Maria Remarque (1958–1970) |
Paulette Goddard (June 3, 1910 – April 23, 1990) was an American film and theatre actress. A former child fashion model and in several Broadway productions as Ziegfeld Girl, she was a major star of the Paramount Studio in the 1940s. She was married to several notable men, including Charlie Chaplin, Burgess Meredith and Erich Maria Remarque. Goddard was nominated for an Academy Award for Best Supporting Actress for her performance in So Proudly We Hail! (1943).
Charles Goddard helped his great niece find jobs as a fashion model, and with the Ziegfeld Follies as one of the heavily-decorated Ziegfeld Girls from 1924 to 1928. She attended Washington Irving High School in Manhattan at the same time as future film star Claire Trevor.
Upon her return to Hollywood, with her mother, Goddard appeared in small roles in The Girl Habit (1931) and The Mouthpiece (1932). Their marital status was a source of controversy and speculation. During most of their time together, both refused to comment on the matter.
She appeared with Janet Gaynor in the comedy The Young in Heart (1938) before Selznick loaned her to MGM to appear in two films. The first of these, Dramatic School (1938), costarred Luise Rainer, but the film received mediocre reviews and failed to attract an audience.
]]
Selznick had been pleased with Goddard's recent performances, and specifically her work in The Young at Heart, and considered her for the role of Scarlett O'Hara. and she was the first actress to be given a Technicolor screen test. Russell Birdwell, the head of Selznick's publicity department, had strong misgivings about Goddard. He warned Selznick of the "tremendous avalanche of criticism that will befall us and the picture should Paulette be given this part ... I have never known a woman, intent on a career dependent upon her popularity with the masses, to hold and live such an insane and absurd attitude towards the press and her fellow man as does Paulette Goddard ... Briefly, I think she is dynamite that will explode in our very faces if she is given the part." After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. and in addition to offering Leigh a contract, he engaged Olivier as the leading man in his next production Rebecca (1940)
Goddard signed a contract with Paramount Pictures and her next film The Cat and the Canary (1939) with Bob Hope, was a turning point in the careers of both actors. She starred with Chaplin again in his 1940 film The Great Dictator. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement. She was Fred Astaire's leading lady in the musical Second Chorus (1940), where she met Burgess Meredith. One of her best-remembered film appearances was in the variety musical Star Spangled Rhythm (1943) in which she sang a comic number, "A Sweater, a Sarong, and a Peekaboo Bang", with fellow sex symbols Dorothy Lamour and Veronica Lake.
Her only Oscar nomination (she didn't win) was for Best Supporting Actress in the 1943 film So Proudly We Hail!. Arguably her most successful film was Kitty (1945), in which she played the title role. In The Diary of a Chambermaid (1946), she starred opposite Meredith, by then her husband.Her career faded in the late 1940s. In 1947 she made An Ideal Husband in Britain for Alexander Korda films, being accompanied on a publicity trip to Brussels by Clarissa Churchill, niece of Sir Winston and future wife of Prime Minister Anthony Eden. In 1949, she formed Monterey Pictures with John Steinbeck. Her last starring roles were the English production A Stranger Came Home (known as The Unholy Four in the USA), and Charge of the Lancers in 1954. She also acted in summer stock and on television, including in the 1955 television remake of The Women, playing a different character than she played in the 1939 feature film. In 1964, she attempted a comeback in films with a supporting role in the Italian film Time of Indifference, but that turned out to be her last feature film. Her last performance was a small role in The Snoop Sisters (1972) for television.
Category:1910 births Category:1990 deaths Category:Actors from New York City Category:American expatriates in Switzerland Category:American film actors Category:American film producers Category:American female models Category:American stage actors Category:American television actors Category:Deaths from emphysema Category:People from the Kansas City metropolitan area Category:People from Queens Category:American people of Jewish descent Category:Ziegfeld Girls
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| Name | Judy Carne |
|---|---|
| Birthname | Joyce Botterill |
| Birthdate | April 27, 1939 |
| Birthplace | Northampton, Northamptonshire, England |
| Occupation | Actress |
| Yearsactive | 1961–1993 |
| Spouse |
Judy Carne (born 27 April 1939) is an English actress best remembered for the phrase "Sock it to me!" on Rowan & Martin's Laugh-In.
On Rowan & Martin's Laugh-In (1968–1973) Carne rose to stardom. Her most popular routine ended with her saying "Sock it to me!", at which point she was doused with water or in some other way assaulted. Carne was on the series for the first two seasons (1968–1969) but made occasional appearances during the 1969–70 season.
Carne became a heroin addict. She had a near-fatal automobile accident in 1978 which broke her neck, leaving her in traction for about three months. On 22 October the same year, she was arrested at London's Gatwick Airport.
Her 1985 autobiography, Laughing on the Outside, Crying on the Inside: The Bittersweet Saga of the Sock-It-To-Me Girl, chronicled her difficulties with drugs, her failed marriage to Reynolds, and her bisexuality.
Since the book was written she has been married two more times. She was also in attendance for the televised 25th anniversary of Laugh-In and a televised Laugh-In Christmas show both in 1993, where she revealed she lives in her hometown of Northampton, England. She still resides there today.
Category:Bisexual actors Category:English comedians Category:English film actors Category:English television actors Category:LGBT people from England Category:People from Northampton Category:Women comedians Category:1939 births Category:Living people
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| Name | Jayne Mansfield |
|---|---|
| Caption | At Jockeys' Ball in Los Angeles, Calif., 1957 |
| Birth name | Vera Jayne Palmer |
| Birth date | April 19, 1933 |
| Birth place | Bryn Mawr, Pennsylvania, United States |
| Death date | June 29, 1967 |
| Death place | U.S. Highway 90 near Slidell, Louisiana, United States |
| Occupation | Actress, singer, model |
| Years active | 1954–1967 |
| Spouse |
Jayne Mansfield (April 19, 1933 – June 29, 1967) was an American actress working both on Broadway and in Hollywood. One of the leading blonde sex symbols of the 1950s, Mansfield starred in several popular Hollywood films that emphasized her platinum-blonde hair, hourglass figure and cleavage-revealing costumes.
While Mansfield's film career was short-lived, she had several box office successes. She won the Theatre World Award, a Golden Globe and a Golden Laurel. As the demand for blonde bombshells declined in the 1960s, Mansfield was relegated to low-budget film melodramas and comedies, but remained a popular celebrity.
In her later career she continued to attract large crowds in foreign countries and in lucrative and successful nightclub tours. Mansfield had been a Playboy Playmate of the Month and appeared in the magazine several additional times. She died in an automobile accident at age 34.
| Name | Jayne Mansfield |
|---|---|
| Issue | February 1955 |
| Bust | |
| Waist | was the only child of Herbert William and Vera (née Jeffrey) Palmer. Her birthname was Vera Jayne Palmer. A natural brunette, she was born in Bryn Mawr, Pennsylvania, but spent her early childhood in Phillipsburg, New Jersey. When she was three years old, her father, a lawyer who was in practice with future New Jersey governor Robert B. Meyner, died of a heart attack while driving a car with his wife and daughter. After his death, her mother worked as a school teacher. In 1939, when Vera Palmer remarried, the family moved to Dallas, Texas. Mansfield's desire to become an actress developed at an early age. In 1950, Vera Jayne Palmer married Paul Mansfield, thus becoming Jayne Mansfield, and the couple moved to Austin, Texas. |
Category:1933 births Category:1967 deaths Category:American female models Category:Breast fetishism Category:American film actors Category:American stage actors Category:American television actors Category:Road accident deaths in Louisiana Category:New Star of the Year (Actress) Golden Globe winners Category:People from Warren County, New Jersey Category:People from Lower Merion Township, Pennsylvania Category:University of Dallas alumni Category:University of Texas at Austin alumni Category:American actors of German descent Category:Playboy Playmates (1953–1959)
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| Name | James Cagney |
|---|---|
| Caption | from his Oscar winning performance inYankee Doodle Dandy (1942) |
| Birth name | James Francis Cagney, Jr. |
| Birth date | July 17, 1899 |
| Birth place | New York City, New York, U.S. |
| Death date | March 30, 1986 |
| Death place | Stanford, New York, U.S. |
| Spouse | Frances Vernon(1922-1986) (his death) |
| Occupation | Actor/Dancer |
| Years active | 1919–1984 |
James Francis Cagney, Jr. (July 17, 1899 March 30, 1986) was an American film actor. Although he won acclaim and major awards for a wide variety of roles, he is best remembered for playing "tough guys." In 1999, the American Film Institute ranked him eighth among the Greatest Male Stars of All Time.
In his first performing role, he danced dressed as a woman in the chorus line of the 1919 revue Every Sailor. He spent several years in vaudeville as a hoofer and comedian until his first major acting role in 1925. He secured several other roles, receiving good reviews before landing the lead in the 1929 play Penny Arcade. After rave reviews for his acting, Warners signed him for an initial $500 a week, three-week contract to reprise his role; this was quickly extended to a seven year contract.
Cagney's seventh film, The Public Enemy, became one of the most influential gangster movies of the period. Notable for its famous grapefruit scene, the film thrust Cagney into the spotlight, making him one of Warners' and Hollywood's biggest stars. In 1938, he received his first Academy Award for Best Actor nomination for Angels with Dirty Faces, before winning in 1942 for his portrayal of George M. Cohan in Yankee Doodle Dandy. He was nominated a third time in 1955 for Love Me or Leave Me. Cagney retired for 20 years in 1961, spending time on his farm before returning for a part in Ragtime mainly to aid his recovery from a stroke.
Cagney walked out on Warners several times over his career, each time coming back on improved personal and artistic terms. In 1935, he sued Warners for breach of contract and won; this marked one of the first times an actor had beaten a studio over a contract issue. He worked for an independent film company for a year while the suit was settled, and also established his own production company, Cagney Productions, in 1942 before returning to Warners again four years later. Jack Warner called him "The Professional Againster", in reference to Cagney’s refusal to be pushed around. Cagney also made numerous morale-boosting troop tours before and during World War II, and was President of the Screen Actors Guild for two years.
Cagney was born on the Lower East Side of Manhattan in New York City. His biographers disagree as to the actual location: either on the corner of Avenue D and 8th Street His father, James Sr. was, by the time of James Jr.'s birth an Irish American bartender and amateur boxer, though on Cagney's birth certificate his father is listed as a telegraphist. The family moved twice when he was still young, first to East 79th Street, and then to East 96th Street. Cagney was the second of seven children, two of whom died within months of birth; he himself had been very sick as a young child, so much so that his mother feared he would die before being baptized. He later attributed his sickness to the level of poverty in which they grew up.
The red-haired, blue-eyed Cagney graduated from Stuyvesant High School in New York City in 1918, and attended Columbia College of Columbia University where he intended to major in art. He also took German and joined the Student Army Training Corps, but dropped out after one semester, returning home upon the death of his father during the 1918 flu pandemic. Cagney believed in hard work, later stating: "It was good for me. I feel sorry for the kid who has too cushy a time of it. Suddenly he has to come to face-to-face with the realities of life without any mama or papa to do his thinking for him." He engaged in amateur boxing, and was a runner-up in the New York State lightweight title. His coaches encouraged him to turn professional, but his mother would not allow it. He also played semi-professional baseball for a local team,
His introduction to films was unusual; when visiting an aunt in Brooklyn who lived opposite Vitagraph Studios, Cagney would climb over the fence to watch the filming of John Bunny films. Afterward, he joined a number of companies as a performer in a variety of roles.
Had Cagney's mother had her way, his stage career would have ended when he quit Every Sailor after two months; proud as she was of his performance, she preferred that he get an education. Cagney appreciated the $35 a week that he received from performing, which he called "a mountain of money for me in those worrisome days." So strong was his habit of working more than one job at a time, he also worked as a dresser for one of the leads, portered the casts' luggage, and understudied for the lead. One of the troupes that Cagney joined was Parker, Rand and Leach, taking over the latter position when Archie Leach—who would later change his name to Cary Grant—left.
After years of touring, performing and struggling to make money, Cagney and Vernon moved to Hawthorne, California in 1924. They moved there partly for Cagney to meet his new mother-in-law who had just moved there from Chicago, and partly to investigate breaking into the movies. Their train fares were paid for by a friend, the press officer of Pitter Patter who was also desperate to act. They were not very successful at first; the dance studio Cagney set up had few clients and folded, and he and Vernon toured the studios but garnered no interest. Eventually they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage. Cagney felt that he only got the role because he was one of only two red-headed performers in New York, and assumed he got it because his hair was more red than Alan Bunce's. Both the play and Cagney received good reviews; Life magazine wrote, "Mr. Cagney, in a less spectacular role [than his co-star] makes a few minutes silence during his mock-trial scene something that many a more established actor might watch with profit". Burns Mantle wrote that it "contained the most honest acting now to be seen in New York".
Following the show's four month run, Cagney went back to vaudeville for the next couple of years. He achieved varied success, but after appearing in Outside Looking In, the Cagneys were more financially secure. During this period, he met George M. Cohan, whom he would go on to portray in Yankee Doodle Dandy, though they never spoke.
Cagney secured the lead role in the 1926–27 season West End production of Broadway by George Abbott. The show's management insisted that he copy Broadway lead Lee Tracy's performance, despite Cagney's discomfort in doing so but the day before the show sailed for England, the management decided that Cagney should be replaced. This was a devastating turn of events for Cagney; apart from the logistical difficulties this presented—their luggage was in the hold of the ship and the couple had given up their apartment—he almost quit show business. As Billie recalled, "Jimmy said that it was all over. He made up his mind that he would get a job doing something else."
The Cagneys had run-of-the-play contracts—their contracts lasted as long as the play did: Billie was in the chorus line of the show, and with help from the Actors’ Equity Association, Cagney took up the understudy role to Tracy on the Broadway show, providing them with a desperately needed steady income. Cagney also established a dance school for professionals, then picked up another role in the play Women Go On Forever, directed by John Cromwell, that ran for four months. By the end of the run, Cagney was exhausted after acting and running the dance school.
He had built a reputation as an innovative teacher, and so when he was cast as the lead in Grand Street Follies of 1928 he was also appointed the choreographer. The show received rave reviews and was followed by Grand Street Follies of 1929. These roles led to a part in George Kelly's Maggie the Magnificent, a play generally not liked by the critics, although Cagney's performance was. Cagney saw this role (and Women Go on Forever) as significant because of the talent that directed them; he learned "what a director was for and what a director could do. They were directors who could play all the parts in the play better than the actors cast for them."
Despite this outburst, the studio liked him, and before his three-week contract was up—while the film was still shooting—they gave Cagney a three-week extension, which was followed by a full seven-year contract at $400 a week. He made four more movies before his breakthrough role.
's face in a famous scene from Cagney's breakthrough movie, The Public Enemy (1931)]] Warner Brothers′ succession of gangster movie hits, in particular Little Caesar with Edward G. Robinson, culminated with the 1931 film The Public Enemy. Due to the strong reviews in his short film career, Cagney was cast as nice-guy Matt Doyle, opposite Edward Woods' role of Tom Powers. However, after the initial rushes, the two were swapped. The film cost only $151,000 to make, but it became one of the first low budget films to gross $1 million.
Cagney received widespread praise for his role. The New York Herald Tribune described his performance as "the most ruthless, unsentimental appraisal of the meanness of a petty killer the cinema has yet devised." He received top billing after the film, but while he acknowledged the importance of the role to his career, he always disputed that it changed the way heroes and leading men were portrayed; he cited Clark Gable's slapping of Barbara Stanwyck six months earlier (in Night Nurse) as more important. Nevertheless, the scene in which Cagney smashes a grapefruit into Mae Clarke's face is viewed by many critics as a one of the most famous moments in movie history.
The scene itself was a very late addition, and who originally thought of the idea is a matter of debate; producer Darryl Zanuck claimed he thought of it in a script conference, Director William Wellman claimed that the idea came to him when he saw the grapefruit on the table during the shoot, and writers Glasmon and Bright claimed the scene was based on the real life of gangster Hymie Weiss, who threw an omelet into his girlfriend's face. Cagney himself usually cited the writers' version, but the fruit's victim, Clarke, agreed that it was Wellman's idea, saying "I'm sorry I ever agreed to do the grapefruit bit. I never dreamed it would be shown in the movie. Director Bill Wellman thought of the idea suddenly. It wasn't even written into the script.". However, according to Turner Classic Movies (TCM), the grapefruit scene was a practical joke that Cagney and costar Mae Clark decided to play on the crew while the cameras were rolling. Wellman liked it so much that he left it in the final film. TCM also notes that the scene made Clarke's ex-husband, Lew Brice, very happy. "He saw the film repeatedly just to see that scene, and was often shushed by angry patrons when his delighted laughter got too loud."
The impact of the scene was such that filmmakers have mimicked it many times throughout cinema history; the scene from The Big Heat in which Lee Marvin's character throws scalding coffee into the face of Gloria Grahame, and Richard Widmark pushing an old lady down a flight of stairs in Kiss of Death, were influenced by Cagney's portrayal of Tom Powers. Cagney himself was offered grapefruit in almost every restaurant he visited for years after, and Clarke claimed it virtually ruined her career due to typecasting.
, Edward G. Robinson and Humphrey Bogart, Warner Bros. actors all, Cagney defined what a movie gangster was. In G Men (1934), though, he played a lawyer who joins the FBI.]] Warners was quick to combine its two rising gangster stars — Cagney and Robinson — for the 1931 film Smart Money. So keen was the studio to follow up the success of Robinson's Little Caesar that Cagney actual shot Smart Money (for which he received second billing) at the same time as The Public Enemy. As in The Public Enemy, Cagney was required to be physically violent to a woman on screen, a signal that Warners was keen to keep Cagney in the public eye; this time he slapped co-star Evalyn Knapp.
With the introduction of the United States Motion Picture Production Code of 1930, and particularly its edicts concerning on-screen violence, Warners decided to allow Cagney a change of pace. They cast him in the comedy Blonde Crazy, again opposite Blondell. As he completed filming, The Public Enemy was filling cinemas with all-night showings. Cagney began to compare his pay with his peers, thinking his contract allowed for salary adjustments based on the success of his films. Warners disagreed, however, and refused to a pay raise. The studio heads also insisted that Cagney continue promoting their films, even the ones he was not in, something he was opposed to. Cagney moved back to New York, leaving his apartment to his brother Bill to look after.
While Cagney was in New York, his brother, who had effectively become his agent, angled for a substantial pay rise and more personal freedom for his brother. Warners' hand was forced by the success of The Public Enemy and of Blonde Crazy, and they eventually offered Cagney an improved contract of $1000 a week. Cagney's first film upon returning from New York was 1932's Taxi!. The film is notable for not only being the first time that Cagney danced on screen, but it was also the last time he would allow himself to be shot at with live ammunition (a relatively common occurrence at the time, as blank cartridges and squibs were considered too expensive and hard to find to be used in most motion picture filming). He had experienced being shot at in The Public Enemy, but during filming for Taxi!, he was almost hit. In his opening scene, Cagney spoke fluent Yiddish, a language he picked up during his boyhood in New York City. Warners refused, and so Cagney once again walked out. He was holding out for $4000 a week,
Having learned about the block-booking studio system that almost guaranteed them huge profits, Cagney was determined to spread the wealth. He would send money and goods to old friends from his neighborhood, though he did not generally make this known. His insistence on no more than four films a year was based on his having witnessed actors—even teenagers—regularly working 100 hours a week in order to turn out more films. This experience would also be an integral part of his involvement in the formation of the Screen Actors Guild, which came into existence in 1933.
in Footlight Parade (1933)]] Cagney returned to the studio and made Hard to Handle in 1933. This was followed by a steady stream of films, including the highly regarded Footlight Parade, which gave Cagney the chance to return to his song-and-dance roots. The film includes show-stopping scenes in the Busby Berkeley choreographed routines. His next notable film was 1934's Here Comes the Navy which paired him with Pat O'Brien for the first time; the two would continue to have a long friendship.
In 1935, Cagney was listed as one of the Top Ten Moneymakers in Hollywood for the first time, and was cast more frequently outside of gangster roles; he played a lawyer who joins the FBI in G-Men, and he also took on his first, and only, Shakespearean role, as Nick Bottom in A Midsummer Night's Dream.
Cagney's last movie in 1935 was Ceiling Zero, his third film with Pat O'Brien. Significantly, O'Brien received top billing, which was a clear breach of Cagney's contract. This, combined with the fact that Cagney had made five movies in 1934, again against his contract terms, forced him to bring legal proceedings against Warners for breach of contract. The dispute dragged on for several months. Cagney received calls from David Selznick and Sam Goldwyn, but neither felt in a position to offer him work while the dispute went on. Cagney made two films for Grand National: Great Guy and Something to Sing About. He received good reviews for both, but overall the production quality was not up to Warner standards and the films did not do well. A third film was planned (Dynamite) but Grand National ran out of money.
with Cagney and Jeffrey Lynn in The Roaring Twenties (1939), the last film Bogart and Cagney made together.]] The timing was fortunate for Cagney, as the courts decided the Warners lawsuit in Cagney's favor. He had done what many thought unthinkable in that he had taken on the studios and won. Additionally, William Cagney was guaranteed a deal as an assistant producer for the films his brother would star in.
Cagney had established the power of the walkout as keeping the studios to their word. He later explained his reasons, saying: "I walked out because I depended on the studio heads to keep their word on this, that or other promise, and when the promise was not kept, my only recourse was to deprive them of my services." Cagney himself acknowledged the importance of the walkout for other actors in breaking the dominance of the studio system. Normally when stars walked out, the time they were absent was added on to the end of their already long contract, as happened with Olivia de Havilland and Bette Davis.
Artistically, the Grand National experiment was a success for Cagney, who was able to move away from his traditional Warners tough guy roles to more sympathetic characters. How far he could have experimented and developed can never be known, but certainly back in the Warners fold he was back playing tough guys. but was keen to get him back to playing tough guys, which was more lucrative. Ironically, the script for Angels was one that Cagney had hoped to do while with Grand National, but the studio had been unable to secure funding. The film is regarded by many as one of Cagney's finest, and garnered him an Academy Award for Best Actor nomination for 1938. He lost to Spencer Tracy in Boys Town, a role which Cagney had been considered for, but lost out on due to his typecasting. Cagney did, however, win that year's New York Film Critics Circle Award for Best Actor.
His earlier insistence on not filming with live ammunition proved to be a good decision; having been told while filming Angels with Dirty Faces that he would do a scene with real machine gun bullets, Cagney refused and insisted the shots be superimposed afterwards. As it turned out, a ricocheting bullet passed through exactly where his head would have been.
During his first year back at Warners, Cagney became the studio's highest earner, earning $324,000. He completed his first decade of movie-making in 1939 with The Roaring Twenties, his first film with Raoul Walsh, and his last with Bogart. It was also his last gangster film for ten years. Cagney again received good reviews; Graham Greene stated that "Mr. Cagney, of the bull-calf brow, is as always a superb and witty actor". The Roaring Twenties was the last film in which a character's violence was explained by poor upbringing, or their environment, as was the case in The Public Enemy. From that point on, violence was attached to mania, as in White Heat.
performing "The Yankee Doodle Boy" from Yankee Doodle Dandy (1942)]] His next notable career role was playing George M. Cohan in Yankee Doodle Dandy, a film Cagney himself "took great pride in" and considered his best. Producer Hal Wallis said that having seen Cohan in I'd Rather Be Right, he never considered anyone other than Cagney for the role. Cagney himself, on the other hand, insisted that Fred Astaire had been the first choice and turned it down.
Filming began the day after the attack on Pearl Harbor, and the cast and crew worked in a "patriotic frenzy" Cohan was given a private showing of the film shortly before his death, and thanked Cagney "for a wonderful job". A paid première, with seats ranging from $25 to $25,000, raised $5,750,000 in war bonds for the US treasury.
Many critics of the time and since have declared it to be Cagney's best film, drawing parallels between Cohan and Cagney; they both began their careers in vaudeville, had years of struggle before reaching the peak of their profession, were surrounded with family and married early, and both had a wife who was happy to sit back while he went on to stardom. The film was nominated for eight Academy Awards (winning three) and Cagney won Best Actor. In his acceptance speech, Cagney said: "I've always maintained that in this business, you're only as good as the other fellow thinks you are. It's nice to know that you people thought I did a good job. And don't forget that it was a good part, too."
Cagney had lost out on Boys Town to Spencer Tracy, and also lost the role of Notre Dame football coach Knute Rockne in Knute Rockne, All American to his friend Pat O'Brien, both because of the hard-man image that Warners had developed for him.
Almost a year after the creation of his new production company, Cagney Productions produced its first film, Johnny Come Lately, in March 1943. While the main studios were producing patriotic war movies, Cagney was determined to continue dispelling his tough guy image, so he produced a movie that was a "complete and exhilarating exposition of the Cagney 'alter-ego' on film". According to Cagney, the film "made money but it was no great winner", and reviews varied from excellent (Time) to poor (New York's PM).
Following the film's completion, Cagney went back to the USO and toured US military bases in the UK. He refused to do any interviews with the UK press, preferring to concentrate on rehearsals and performances. He gave several shows a day for the Army Signal Corps; called The American Cavalcade of Dance, the show consisted of a history of American dance, from the earliest days to Fred Astaire, and culminated with dances from Yankee Doodle Dandy.
The second movie Cagney's company produced was Blood on the Sun. Insisting on doing his own stunts, Cagney required judo training from expert Ken Kuniyuki and Jack Halloran, a former policeman. The Cagneys had hoped that an action film would appeal more to more audiences, but it fared worse at the box office than Johnny Come Lately. At this time, Cagney heard of young war hero Audie Murphy, who appeared on the front of Life magazine. Cagney thought that Murphy had the looks to be a movie star, and suggested that he come to Hollywood. Cagney felt, however, that Murphy could not act, and his contract was loaned out and then sold.
While negotiating the rights for their third independent film, Cagney starred in 20th Century Fox's 13 Rue Madeleine at $300,000 for two months of work. The film was a success, and Cagney was keen to begin production of his new project, an adaptation of William Saroyan's Broadway play The Time of Your Life. Saroyan himself loved the film, but it was a commercial disaster, costing the company half a million dollars to make, and audiences again struggled to accept Cagney out of tough guy roles.
Cagney Productions was in serious trouble; poor returns from the produced films, and a legal dispute with Sam Goldwyn Studio over a rental agreement Cinema had changed in the ten years since Walsh last directed Cagney (in The Roaring Twenties), and the actor's portrayal of gangsters had also changed. Unlike Tom Powers in The Public Enemy, Jarrett is portrayed as a raging lunatic with little or no sympathetic qualities. In the 18 intervening years, Cagney's hair had begun to gray, and he developed a paunch for the first time. He was no longer a romantic commodity, and this was reflected in his portrayal of Jarrett."
Cagney's closing lines of the film — "Made it, Ma! Top of the world!" — was voted the 18th greatest movie line by the American Film Institute. Likewise, Jarrett's explosion of rage in prison on being told his mother's death is widely hailed as one of Cagney's most memorable performances. Some of the extras on set actually became terrified of the actor because of his violent portrayal. Cagney was still struggling against his gangster typecasting. He said to a journalist, "It's what the people want me to do. Some day, though, I'd like to make another movie that kids could go and see." However, Warners, perhaps searching for another Yankee Doodle Dandy
His next film, Kiss Tomorrow Goodbye, was another gangster movie, which was the first by Cagney Productions since its being acquired by Warners. While compared unfavorably to White Heat by critics, it was fairly successful at the box office, with $500,000 going straight to Cagney Productions' bankers to pay off their losses. Cagney Productions was not a great success, however, and in 1953, after William Cagney produced his last film, A Lion Is in the Streets, the company ended. Cagney described the script as "that extremely rare thing, the perfect script". When the film was released, Snyder reportedly asked how Cagney had so accurately copied his limp, but Cagney himself insisted he had not, having made it up based on personal observation of other people when they limped: "What I did was very simple. I just slapped my foot down as I turned it out while walking. That's all". Day herself was full of praise for Cagney, stating that he was "the most professional actor I've ever known. He was always 'real'. I simply forgot we were making a picture. His eyes would actually fill up when we were working on a tender scene. And you never needed drops to make your eyes shine when Jimmy was on the set." Cagney had worked with Ford before on What Price Glory?, and they had got on fairly well. However, as soon as Ford met Cagney at the airport, the director warned that they would "tangle asses", which caught Cagney by surprise. He later said: "I would have kicked his brains out. He was so goddamned mean to everybody. He was truly a nasty old man." The next day, Cagney was slightly late on set, and Ford became incensed. Cagney cut short the imminent tirade, saying "When I started this picture, you said that we would tangle asses before this was over. I'm ready now – are you?" Ford walked away and he and Cagney had no more problems, even if he never particularly liked Ford.
In 1956, Cagney undertook one of his very rare television roles, starring in Robert Montgomery's Soldiers From the War Returning. This was a favor to Montgomery, who needed a strong fall season opener to stop the network from dropping his series. Cagney's appearance ensured that it was a success. The actor made it clear to reporters afterwards that television was not his medium: "I do enough work in movies. This is a high-tension business. I have tremendous admiration for the people who go through this sort of thing every week, but it's not for me."
The following year Cagney appeared in Man of a Thousand Faces, in which he played Lon Chaney. His performance received excellent reviews, with the New York Journal American rating it one of his best performances, and the film, made for Universal, was a box office hit. Again, Cagney's skills of mimicry, combined with a physical similarity to Chaney, allowed him to generate empathy for his character.
Later In 1957, Cagney ventured behind the camera for the first (and only) time to direct Short Cut to Hell, a remake of the 1941 Alan Ladd film This Gun for Hire, which in turn was based on the Graham Greene novel A Gun for Sale. Cagney had long been told by friends that he would be an excellent director,
In 1959, Cagney played a labor leader in what proved to be his final musical, Never Steal Anything Small, which featured a comical song and dance duet with Cara Williams, who played his girlfriend.
inThe Gallant Hours, with Dennis Weaver]] Cagney's next film was over a year later, in 1959, when he traveled to Ireland to film Shake Hands with the Devil, directed by Michael Anderson. While in Ireland, Cagney had hoped to spend some time tracing his ancestry, but time constraints and poor weather meant that he was unable to fulfil this wish. The overriding message of violence inevitably leading to violence attracted Cagney to the role of an Irish Republican Army commander, and resulted in what some critics would regard as the finest performance of his final years.
Cagney's career began winding down, and he made only one film in 1960, the critically acclaimed The Gallant Hours in which he played Admiral William F. "Bull" Halsey. The film, although set during the Guadalcanal Campaign in the Pacific Ocean during World War II, was not a war film but instead focused on the effect of command. Cagney Productions, which shared the production credit with Robert Montgomery's company, made a brief return in name only. The film was a success, and The New York Times' Bosley Crowther singled its star out for praise: "It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film. There is no braggadocio in it, no straining for bold or sharp effects. It is one of the quietest, most reflective, subtlest jobs that Mr. Cagney has ever done."
Cagney's penultimate film was a comedy. He was hand-picked by Billy Wilder to play a Coca-Cola executive in the film One, Two, Three. Cagney had concerns with the script, remembering back 23 years to Boy Meets Girl where scenes were re-shot to make them funnier by speeding up the pacing with the opposite effect. Cagney received assurances from Wilder that the script was balanced. Filming did not go well, though, with one scene requiring 50 takes, something Cagney was unaccustomed to. In fact, the filming was one of the worst experiences of Cagney's long career. One of the few positive outcomes was his friendship with Pamela Tiffin, to whom he gave acting guidance, including the secret that he'd learned over his career: "You walk in, plant yourself squarely on both feet, look the other fella in the eye, and tell the truth."
Cagney was diagnosed with glaucoma and began taking eye-drops, but he continued to have problems with his vision. On Zimmerman's recommendation, he visited a different doctor, who identified that the glaucoma was a misdiagnosis, and that Cagney was actually diabetic. Zimmerman then took it upon herself to look after Cagney, preparing his meals to reduce his blood triglyceride level which had reached alarming proportions. Such was her success, that by the time Cagney made a rare public appearance at his AFI Lifetime Achievement award ceremony in 1974 he had lost 20 pounds and his vision had drastically improved.
Opened by Charlton Heston and introduced by Frank Sinatra, the ceremony was attended by so many Hollywood stars—said to be more than for any event in history—that one columnist wrote at the time that a bomb in the dining room would have brought about the end of the movie industry. During his acceptance speech, Cagney lightly chastised impressionist Frank Gorshin, saying, "Oh, Frankie, I never said 'MMMMmmmm, you dirty rat!' What I actually said was 'Judy, Judy, Judy!" which was itself one of Cary Grant's most famous misquotations.
Whilst at Coldwater Canyon in 1977, Cagney had a minor stroke. After two weeks in hospital, Zimmerman became his full-time caregiver, traveling with him and Billie wherever they went. After the stroke, Cagney was no longer able to undertake many of his favorite pastimes, including horse riding and dancing, and as he became more depressed, he even gave up his beloved hobby of painting. Encouraged by his wife and Zimmerman, Cagney accepted an offer from Miloš Forman to star in the 1981 film Ragtime.
The film was shot mainly at Shepperton Studios in London, and on his arrival at Southampton after the trip on the Queen Elizabeth 2, Cagney was mobbed by hundreds of fans. Cunard officials, who were responsible for the security at the dock, said they had never seen anything like it, although they had experienced past visits by Marlon Brando and Robert Redford. Despite being his first film for twenty years, Cagney was immediately at ease. Flubbed lines and miscues were all done by his co-stars, many of whom were in awe of Cagney. Howard Rollins, who received a Best Supporting Actor Oscar nomination for his performance, said: "I was frightened to meet Mr. Cagney. I asked him how to die in front of camera. He said 'Just die!' It worked. Who would know more about dying than him?" Cagney also repeated the advice he had given to Pamela Tiffin, Joan Leslie and Lemmon.
As filming progressed, Cagney's sciatica worsened, but he continued the nine-week shoot. He and co-star Pat O'Brien appeared on the Parkinson talk show, and Cagney made a surprise appearance at the Queen Mother's command birthday performance at the London Palladium. His appearance on-stage prompted the Queen Mother to rise to her feet, the only time she did during the whole show, and she later broke protocol to go backstage to speak with Cagney directly. Cagney was a very private man, and while he was more than willing to give the press photographs when necessary, he generally spent his private time out of the public eye.
Cagney's son married Jill Lisbeth Inness in 1962. The couple had two children - James III and Cindy. Cagney Jr. died from a heart attack on January 27, 1984 in Washington D.C., two years before his adoptive father's death. He had become estranged from his father and had not seen or talked to him since 1982. She too was estranged from her father during the final years of his life. She died August 11, 2004.
As a young man, Cagney became interested in farming — an interest sparked by a soil conservation lecture he attended Cagney loved that there were no concrete roads surrounding the property, only dirt tracks. The house was rather run-down and ramshackle, and Billie was initially reluctant to move in, but soon came to love the place as well. After being inundated by movie fans, Cagney sent out a rumor that he had hired a gunman for security. The ruse proved so successful that when Spencer Tracy came to visit his taxi driver refused to drive up to the house and said, "I hear they shoot!", which forced Tracy to walk. He expanded the farm over the years to a site. Such was Cagney's enthusiasm for farming that when he was awarded an honorary degree from Rollins College. He surprised the staff by writing a paper on soil conservation, rather than just "turning up with Ava Gardner on my arm," as he put it.
Cagney was a keen sailor and owned boats both the east and west coasts of the U.S., although he occasionally experienced seasickness—sometimes not being stricken in a heavy sea, but then being ill on a calm day. He also enjoyed painting, and claimed in his autobiography that he may have been happier as a painter than a movie star, if somewhat poorer. One of his teachers in later life was Sergei Bongart, who went on to own two of Cagney's paintings. Cagney refused to sell his paintings, considering himself an amateur. He signed and sold only one painting which Johnny Carson bought to benefit a charity. Fanzines in the 1930s, however, described his politics as "radical". This somewhat exaggerated view was enhanced by his public contractual wranglings with Warners at the time, his joining of the Screen Actors Guild in 1933 and his involvement in the revolt against the so-called Merriam tax. During the 1934 Californian gubernatorial campaign this tax was levied by the studio heads automatically taking a day's pay of their biggest earning stars and would help raise half a million dollars for Frank Merriam. Cagney (and Jean Harlow) refused to pay.
He supported Thomas Mooney's defense fund, but was repelled by the behavior of some of Mooney's supporters at a rally.
Cagney was accused of being a Communist sympathizer in 1934, and again in 1940. The 1934 accusation stemmed from a letter from a local Communist official found by police alleging that Cagney would be bringing other Hollywood stars to meetings. Cagney denied this, and Lincoln Steffens, husband of the letter-writer, backed up this denial, asserting that the accusation stemmed solely from Cagney's donation to striking cotton workers in San Joaquin Valley. William Cagney claimed this donation to be the root of the 1940 charges. Cagney was cleared by U.S. Representative Martin Dies, Jr. on the House Un-American Activities Committee.
Cagney became President of the Screen Actors Guild in 1942 for a two year term. He took an active role in the Guild's work against the Mafia, which had taken an active interest in the movie industry. Having failed to scare Cagney and the Guild off — having on one occasion phoned Billie to tell her that Cagney was dead — Cagney alleged that they sent a hit man to kill him by dropping a heavy light onto his head. On hearing about the rumor of the hit, George Raft made a call, and the hit was canceled.
During World War II, he took part in racing exhibitions at the Roosevelt Raceway to raise war bonds. He also allowed the Army to practice maneuvers at his Martha's Vineyard farm, and sold seats for the premiere of Yankee Doodle Dandy to raise money for war bonds. By 1980, Cagney was contributing financially to the Republican Party, supporting his friend Reagan's bid for the Presidency in the Presidential election.
As he got older, he became more and more conservative, referring to himself in his autobiography as "arch-conservative". He regarded his move away from liberal politics as "a totally natural reaction once I began to see undisciplined elements in our country stimulating a breakdown of our system... Those functionless creatures, the hippies ... just didn't appear out of a vacuum."
He received the Kennedy Center Honors in 1980, and in 1984 Ronald Reagan awarded him the Presidential Medal of Freedom.
Cagney was among Stanley Kubrick's favorite actors, and was declared by Orson Welles as "maybe the greatest actor to ever appear in front of a camera." Warner Brothers would arrange private screenings of Cagney films for Winston Churchill.
Category:1899 births Category:1986 deaths Category:American film actors Category:American Roman Catholics Category:Best Actor Academy Award winners Category:Presidents of the Screen Actors Guild Category:Burials at Gate of Heaven Cemetery Category:California Republicans Category:California Democrats Category:Columbia University alumni Category:Deaths from myocardial infarction Category:American people of Irish descent Category:Kennedy Center honorees Category:New York Democrats Category:New York Republicans Category:American actors of Norwegian descent Category:American people of Norwegian descent Category:People from New York City Category:People from Lower East Side Category:Presidential Medal of Freedom recipients Category:Stuyvesant High School alumni Category:Vaudeville performers Category:20th-century actors
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| Name | Jack Benny |
|---|---|
| Caption | Jack Benny in 1958 |
| Birthname | Benjamin Kubelsky |
| Birth date | February 14, 1894 |
| Birth place | Chicago, Illinois, United States |
| Death date | December 26, 1974 |
| Death place | Beverly Hills, CaliforniaUnited States |
| Show | The Jack Benny Program |
| Network | NBC, CBS |
| Style | Comedian |
| Country | United States |
In 1911, Benny was playing in the same theater as the young Marx Brothers, whose mother Minnie was so enchanted with Benny's musicianship that she invited him to be their permanent accompanist. The plan was foiled by Benny's parents, who refused to let their son, then 17, go on the road, but it was the beginning of his long friendship with Zeppo Marx. Benny's future wife Mary Livingstone was a distant cousin of the Marx Brothers.
The following year, Benny formed a vaudeville musical duo with pianist Cora Salisbury, a buxom 45-year-old widow who needed a partner for her act. This provoked famous violinist Jan Kubelik, who thought that the young vaudeville entertainer with a similar name (Kubelsky) would damage his reputation. Under pressure from Kubelik's lawyer, Benjamin Kubelsky agreed to change his name to Ben K. Benny (sometimes spelled Bennie). When Salisbury left the act, Benny found a new pianist, Lyman Woods, and re-named the act "From Grand Opera to Ragtime". They worked together for five years and slowly added comedy elements to the show. They even reached the Palace Theater, the "Mecca of Vaudeville", but bombed. Benny left show business briefly in 1917 to join the U.S. Navy during World War I, and he often entertained the troops with his violin playing. One evening, his violin performance was booed by the troops, so with prompting from fellow sailor and actor Pat O'Brien, he ad-libbed his way out of the jam and left them laughing. He got more comedy spots in the revues and was a big hit, and earned himself a reputation as a comedian as well as a musician.
Shortly after the war, Benny started a one-man act, "Ben K. Benny: Fiddle Funology". But then he heard from another lawyer, this time that of Ben Bernie, another patter-and-fiddle performer who also threatened to sue. So Benny adopted the common sailor's nickname Jack. By 1921, the fiddle became more of a prop and the low-key comedy took over.
Benny had several romantic encounters, including one with a dancer, Mary Kelly, whose devoutly Catholic family forced her to turn down Benny's proposal because he was Jewish. Benny was introduced to Mary Kelly by Gracie Allen. Some years after their split, Kelly resurfaced as a dowdy fat girl and Jack gave her a part in an act of three girls: one homely, one fat and one who couldn't sing. This lasted until, at Mary Livingstone's request, Mary Kelly was let go.
In 1922, Jack accompanied Zeppo Marx to a Passover seder where he met Sadye (Sadie) Marks, whom he married in 1927 after meeting again on a double-date. She was working in the hosiery section of the Hollywood Boulevard branch of the May Company and Benny would court her there. Called on to fill in for the "dumb girl" part in one of Benny's routines, Sadie proved a natural comedienne and a big hit. Adopting Mary Livingstone as her stage name, Sadie became Benny's collaborator throughout most of his career. They later adopted a daughter, Joan.
In 1929, Benny's agent Sam Lyons convinced MGM's Irving Thalberg to catch Benny's act at the Orpheum Theatre in Los Angeles. Benny was signed to a five-year contract and his first film role was in The Hollywood Revue of 1929. His next movie, Chasing Rainbows, was a flop and after several months, Benny was released from his contract and returned to Broadway in Earl Carroll's Vanities. At first dubious about the viability of radio, Benny was eager to break into the new medium. In 1932, after a four-week nightclub run, he was invited onto Ed Sullivan's radio program, uttering his first radio spiel "This is Jack Benny talking. There will be a slight pause while you say, 'Who cares?'..."
Benny had been only a minor vaudeville performer, but he became a national figure with The Jack Benny Program, a weekly radio show which ran from 1932 to 1948 on NBC and from 1949 to 1955 on CBS. It was consistently among the most highly rated programs during most of that run.
With Canada Dry Ginger Ale as a sponsor, Benny came to radio on The Canada Dry Program, beginning May 2, 1932, on the NBC Blue Network and continuing there for six months until October 26, moving the show to CBS on October 30. With Ted Weems leading the band, Benny stayed on CBS until January 26, 1933.
Arriving at NBC on March 17, Benny did The Chevrolet Program until April 1, 1934. He continued with sponsor General Tire through the end of the season. In October, 1934, General Foods, the makers of Jell-O and Grape-Nuts, became the sponsor most identified with Jack, for the next ten years. American Tobacco's Lucky Strike was his longest-lasting radio sponsor, from October, 1944, through the end of his original radio series.
The show returned to CBS on January 2, 1949, as part of CBS president William S. Paley's notorious "raid" of NBC talent in 1948–49. There it stayed for the remainder of its radio run, which ended on May 22, 1955. CBS aired repeats of old radio episodes from 1956 to 1958 as The Best of Benny.
Benny's stage character was just about everything the actual Jack Benny was not: cheap, petty, vain, and self-congratulatory. His comic rendering of these traits became the linchpin to the Benny show's success. Benny set himself up as the comedic foil, allowing his supporting characters to draw laughs at the expense of his character's flaws. By allowing such a character to be seen as human and vulnerable, in an era where few male characters were allowed such obvious vulnerability, Benny made what might have been a despicable character into a lovable Everyman character. Benny himself said on several occasions: "I don't care who gets the laughs on my show, as long as the show is funny." In her book, Benny's daughter Joan said her father always said it doesn't matter who gets laughs, because come the next day they will say, "Remember the Jack Benny Show, last night, it was good, or it was bad." Jack felt he got the credit or blame either way, not the actor saying the lines, so it had better be funny.
The supporting characters who amplified that vulnerability only too gladly included wife Mary Livingstone as his wisecracking and not especially deferential female friend (not quite his girlfriend, since Benny would often try to date movie stars like Barbara Stanwyck, and occasionally had stage girlfriends such as "Gladys Zybisco"); rotund announcer Don Wilson (who also served as announcer for Fanny Brice's hit, Baby Snooks); bandleader Phil Harris as a jive-talking, wine-and-women type whose repartee was rather risqué for its time; boy tenor Dennis Day, who was cast as a sheltered, naïve youth who still got the better of his boss as often as not (this character was originated by Kenny Baker, but perfected by Day); and, especially, Eddie Anderson as valet-chauffeur Rochester van Jones who was as popular as Benny himself.
And that was itself a radical proposition for the era: unlike the protagonists of Amos 'n' Andy, Rochester was a black man allowed to one-up his vain, skinflint boss. In more ways than one, with his mock-befuddled one-liners and his sharp retorts, he broke a comedic racial barrier. Unlike many black supporting characters of the time, Rochester was depicted and treated as a regular member of Benny's fictional household. Benny, in character, tended if anything to treat Rochester more like an equal partner than as a hired domestic, even though gags about Rochester's flimsy salary were a regular part of the show. (Frederick W. Slater, newsman of St. Joseph, Missouri, recalled when Benny and his staff stayed at the restricted Robidioux Hotel during their visit to that town. When the desk staff told Benny that "Rochester" could not stay at the hotel, Benny replied, "If he doesn't stay here, neither do I." The hotel's staff eventually relented.)
Rochester seemed to see right through his boss's vanities and knew how to prick them without overdoing it, often with his famous line "Oh, Boss, come now!" Benny deserves credit for allowing this character and the actor who played him (it is difficult, if not impossible, to picture any other performer giving Rochester what Anderson gave him) to transcend the era's racial stereotype and for not discouraging his near-equal popularity. A New Year's Eve episode, in particular, shows the love each performer had for the other, quietly toasting each other with champagne. That this attention to Rochester's race was no accident became clearer during World War II, when Benny would frequently pay tribute to the diversity of Americans who had been drafted into service.
After the war, once the depths of Nazi race hatred had been revealed, Benny made a conscious effort to remove the most stereotypical aspects of Rochester's character. In 1948, it became apparent to Benny how much the times had changed when a 1941 script for "The Jack Benny Program" was re-used for one week's show. The script included mention of several African-American stereotypes (i.e. a reference to Rochester carrying a razor), and prompted a number of listeners, who didn't know the script was an old one, to send in angry letters protesting the stereotypes. Thereafter, Benny insisted that his writers should make sure that no racial jokes or references should be heard on his show. Benny also often gave key guest-star appearances to African-American performers such as Louis Armstrong and the Ink Spots.
The rest of Benny's cast included character actors and comedians:
Other musical contributions came starting in 1946 from the singing quartet the Sportsmen (members: Bill Days, Max Smith, Marty Sperzel and Gurney Bell) singing the middle Lucky Strike commercial. In the early days of the program, the supporting characters were often vaudevillian ethnic stereotypes whose humor was grounded in dialects. As the years went by, the humor of these figures became more character-based.
Benny's method of bringing a character into a skit, by announcing his name, also became a well-known Benny shtick: "Oh, Dennis..." or "Oh, Rochester..." typically answered by, "Yes, Mr. Benny (Boss)?"
The Jack Benny Program evolved from a variety show blending sketch comedy and musical interludes into the situation comedy form we know even now, crafting particular situations and scenarios from the fictionalization of Benny the radio star. Any situation from hosting a party to income tax time to a night on the town was good for a Benny show, and somehow the writers and star would find the right ways and places to insert musical interludes from Phil Harris and Dennis Day. With Day, invariably, it would be a brief sketch that ended with Benny ordering Day to sing the song he planned to do on that week's show.
One extremely popular scenario that became an annual tradition on The Jack Benny Program was the "Christmas Shopping" episode, in which Benny would head to a local department store. Each year, Benny would buy a ridiculously cheap Christmas gift for Don Wilson from a store clerk played by Mel Blanc. Benny would then have second (then third, and even fourth) thoughts about his gift choice, driving Blanc (or, in two other cases, his wife and his psychiatrist, as well) to hilarious insanity by exchanging the gift, pestering about the Christmas card or wrapping paper countless times throughout the episode: in many cases, the clerk would commit suicide, or attempt and fail to commit suicide ("Look what you done! You made me so nervous, I missed!") as a result.
In the 1946 Christmas episode, for example, Benny buys shoelaces for Don, and then is unable to make up his mind whether to give Wilson shoelaces with plastic tips or shoelaces with metal tips. After Benny exchanges the shoelaces repeatedly, Mel Blanc is heard screaming insanely, "Plastic tips! Metal tips! I can't stand it anymore!" A variation in 1948 concerned Benny buying an expensive wallet for Don, but repeatedly changing the greeting card inserted—prompting Blanc to shout: "I haven't run into anyone like you in 20 years! Oh, why did the governor have to give me that pardon!?" – until Benny realizes that he should have gotten Don a wallet for $1.98, whereupon the put-upon clerk immediately responds by committing suicide. Over the years, in these Christmas episodes, Benny bought and repeatedly exchanged cuff links, golf tees, a box of dates, a paint set, and even a gopher trap.
In 1936, after a few years broadcasting from New York, Benny moved the show to Los Angeles, allowing him to bring in guests from among his show business friends — such as Frank Sinatra, James Stewart, Judy Garland, Barbara Stanwyck, Bing Crosby, Burns and Allen (George Burns was Benny's closest friend), and many others. Burns and Allen and Orson Welles guest hosted several episodes in March and April 1943 when Benny was seriously ill with pneumonia, while Ronald Colman and his wife Benita Hume appeared frequently in the 1940s as Benny's long-suffering neighbors.
In fact, the show was not officially called The Jack Benny Program for many years; usually, the primary name of the show tied to the sponsor. Benny's first sponsor was Canada Dry Ginger Ale from 1932 to 1933. Benny's sponsors included Chevrolet from 1933 to 1934, General Tire in 1934, and Jell-O from 1934 to 1942. The Jell-O Program Starring Jack Benny was so successful in selling Jell-O, in fact, that General Foods could not manufacture it fast enough when sugar shortages arose in the early years of World War II, and the company had to stop advertising the popular dessert mix. General Foods switched the Benny program from Jell-O to Grape-Nuts from 1942 to 1944, and it became, naturally, The Grape Nuts Program Starring Jack Benny. Benny's longest-running sponsor, however, was the American Tobacco Company's Lucky Strike cigarettes, from 1944 to 1955, and it was during Lucky Strike's sponsorship that the show became, at last, The Jack Benny Program once and for all (although it was often announced by Don Wilson at the start of the show as The Lucky Strike Program Starring Jack Benny).
Benny would sometimes joke about the appropriateness of "Love in Bloom" as his theme song. On a segment often played in Tonight Show retrospectives, Benny talks with Johnny Carson about this. Benny says he has no objections to the song in and of itself, only as his theme. Proving his point, he begins reciting the lyrics slowly and deliberately: "Can it be the trees. That fill the breeze. With rare and magic perfume. Now what the hell has that got to do with me?"
The punchline came to Benny staff writers John Tackaberry and Milt Josefsberg almost by accident. Writer George Balzer described the scene to author Jordan R. Young, for The Laugh Crafters, a 1999 book of interviews with veteran radio and television comedy writers: :... they had come to a point where they had the line, "Your money or your life." And that stopped them... Milt is pacing up and down, trying to get a follow... And he gets a little peeved at Tack, and he says, "For God's sakes, Tack, say something." Tack, maybe he was half asleep—in defense of himself, says, "I'm thinking it over." And Milt says, "Wait a minute. That's it." And that's the line that went in the script... By the way, that was not the biggest laugh that Jack ever got. It has the reputation of getting the biggest laugh. But that's not true.
The actual length of the laugh the joke got was five seconds when originally delivered and seven seconds when the gag was reprised on a follow-up show. In fact, the joke is probably not so memorable for the length of the laugh it provoked, but because it became the definitive "Jack Benny joke"—the joke that best illustrated Benny's "stingy man" persona. The punchline—"I'm thinking it over!"—simply would not have worked with any other comedian but Benny.
The actual longest laugh known to collectors of The Jack Benny Program lasted in excess of 32 seconds. The International Jack Benny Fan Club reports that, at the close of the program broadcast on December 13, 1936, sponsored by Jell-O, guest Andy Devine says that it is the "last number of the eleventh program in the new Jelly series." The audience, who loved any sort of accidental flub in the live program, is still laughing after 32 seconds, at which point the network cut off the program to prevent it from running overtime.
According to Jack himself, Mary Livingstone got the biggest laugh he ever heard on the show, on the April 25, 1948 broadcast. The punchline was the result of the following exchange between Don Wilson and noted opera singer Dorothy Kirsten:
:Don Wilson: Oh, Miss Kirsten, I wanted to tell you that I saw you in "Madame Butterfly" Wednesday afternoon, and I thought your performance was simply magnificent. :Dorothy Kirsten: Well, thanks, awfully. It's awfully nice and kind of you, Mr. Wilson. But, uh, who could help singing Puccini? It's so expressive. And particularly in the last act, starting with the allegro vivacissimo. :Don Wilson: Well, now, that's being very modest, Miss Kirsten. But not every singer has the necessary bel canto and flexibility or range to cope with the high tessitura of the first act. :Dorothy Kirsten: Thank you, Mr. Wilson. And don't you think that in the aria, "Un bel dì vedremo", that the strings played the con molto passione exceptionally fine and with great sostenuto? :Jack Benny: Well, I thought-- :Mary Livingstone (to Jack): Oh, shut up!
According to Jack, the huge laugh resulted from the long buildup, and the audience's knowledge that Jack, with his pompous persona, would have to break into the conversation at some point.
A nearly identical exchange occurred over a year earlier, among renowned violinist Isaac Stern, radio personality Ron Coleman, Jack Benny, and Mary Livingstone. The quartet's back-and-forth, which centered on Stern's recent public performance of a Mendelsohn piece, was heard on an episode first broadcast on February 16, 1947. The resulting laughter lasted some 18 seconds, after which Jack retorted, "Mary, that's no way to talk to Mr. Stern."
Later in life, when performing as a stand-up comedian in Las Vegas, Jack had just begun to tell an old joke about the salesman, the farmer and the farmer's daughter: "So the salesman and the farmer's daughter come to the front door, and the farmer opens the door." At this point, Sammy Davis, Jr. walks onstage behind Jack, the audience screams, and Sammy proceeds to speak and sing and dance about 25 minutes or so, while Jack continues to stand at center stage, quietly watching the spectacle. When Davis finally walks offstage and the audience's applause dies down, Jack continues to watch Davis offstage for a few moments, then as the audience is finally quiet continues: "... So the farmer said--" And that's about as far as that joke got, because the audience laughed for minutes afterward.
For a decade, the two went at it back and forth, so convincingly that fans of either show could have been forgiven for believing they had become blood enemies. In fact, the two men were good friends and each other's greatest admirers. Benny and Allen often appeared on each other's show during the thick of the "feud"; numerous surviving episodes of both comedians' radio shows feature each other, in both acknowledged guest spots and occasional cameos. Benny in his eventual memoir (Sunday Nights at Seven) and Allen in his Treadmill to Oblivion later revealed that each comedian's writing staff often met together to plot future takes on the mock feud. If Allen zapped Benny with a satirisation of Benny's show ("The Pinch Penny Program"), Benny shot back with a parody of Allen's early favourite, Town Hall Tonight. Benny's parody? "Clown Hall Tonight." And their playful sniping ("Benny was born ignorant, and he's been losing ground ever since") was also advanced in the films Love Thy Neighbor and It's in the Bag!.
Perhaps the climax of the "feud" came during Fred Allen's parody of popular quiz-and-prize show Queen for a Day, which was barely a year old when Allen decided to have a crack at it on The Fred Allen Show---an episode that has survived for today's listeners to appreciate. Calling the sketch "King for a Day", Allen played the host and Benny a contestant who sneaked onto the show using the alias Myron Proudfoot. Benny answered the prize-winning question correctly and Allen crowned him "king" and showered him with a passel of almost meaningless prizes. Allen proudly announced, "Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest." To which Benny joyously declared, "I'm king for a day!" At this point a professional pressing-iron was wheeled on stage, to press Benny's suit properly. It didn't matter that Benny was still in the suit. Allen instructed his aides to remove Benny's suit, one item at a time, ending with his trousers, each garment's removal provoking louder laughter from the studio audience. As his trousers began to come off, Benny howled, "Allen, you haven't seen the end of me!" At once Allen shot back, "It won't be long now!"
The laughter was so loud and chaotic at the chain of events that the Allen show announcer, Kenny Delmar, was cut off the air while trying to read a final commercial and the show's credits. (Allen was notorious for running overtime often enough, largely thanks to his ad-libbing talent, and he overran the clock again this time.)
Benny was profoundly shaken by Allen's sudden death of a heart attack in 1956. In a statement released on the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
But Paley, according to CBS historian Robert Metz, also learned that Benny chafed under NBC's almost indifferent attitude toward the talent that attracted the listeners. NBC, under the leadership of David Sarnoff, seemed at the time to think that listeners were listening to NBC because of NBC itself. To Paley, according to Metz, that was foolish thinking at best: Paley believed listeners were listening because of the talent, not because of which platform hosted them. When Paley said as much to Benny, the comedian agreed. Because Paley took a personal interest in the Benny negotiations, as opposed to Sarnoff who had never met his top-rated star, Benny was convinced to make the jump. He convinced a number of his fellow NBC performers (notably Burns and Allen, Edgar Bergen, Red Skelton and Kate Smith) to join him.
To sweeten the deal for a very nervous sponsor, Paley also agreed to make up the difference to American Tobacco if Benny's Hooper rating (the radio version of today's Nielsen ratings) on CBS fell to a certain level below his best NBC Hooper rating. Benny's CBS debut on January 2, 1949 bested his top NBC rating by several points while also pumping up the ratings of the show that followed, Amos 'n' Andy. NBC, with its smash Sunday night lineup now broken up, offered lucrative new deals to two of those Sunday night hits, The Fred Allen Show and The Phil Harris-Alice Faye Show. Benny's bandleader and his singing actress wife now starred in their own hit sitcom, meaning Harris was featured on shows for two different networks.
Benny and Sarnoff eventually met several years later and became good friends. Benny said that if he had had this kind of relationship with Sarnoff earlier, when he was Sarnoff's number-one radio star, he never would have left NBC.
In September 1954, CBS premiered Chrysler's Shower of Stars co-hosted by Jack Benny and William Lundigan. It enjoyed a successful run from 1954 until 1958. Both television shows often overlapped the radio show. In fact, the radio show alluded frequently to its television counterparts. Often as not, Benny would sign off the radio show in such circumstances with the line "Well, good night, folks. I'll see you on television."
When Benny moved to television, audiences learned that his verbal talent was matched by his controlled repertory of dead-pan facial expressions and gesture. The program was similar to the radio show (several of the radio scripts were recycled for television, as was somewhat common with other radio shows that moved to television), but with the addition of visual gags. Lucky Strike was the sponsor. Benny did his opening and closing monologues before a live audience, which he regarded as essential to timing of the material. As in other TV comedy shows, canned laughter was sometimes added to "sweeten" the soundtrack, as when the studio audience missed some close-up comedy because of cameras or microphones in their way. The television viewers learned to live without Mary Livingstone, who was afflicted by a striking case of stage fright. Livingstone appeared rarely if at all on the television show (for the last few years of the radio show, she pre-recorded her lines and Jack and Mary's daughter, Joan, stood in for the live broadcast as the pre-recordings were played), and finally retired from show business permanently in 1958, as her friend Gracie Allen had done.
Benny's television program relied more on guest stars and less on his regulars than his radio program. In fact, the only radio cast members who appeared regularly on the television program as well were Don Wilson and Eddie Anderson. Day appeared sporadically, and Harris had left the radio program in 1952, although he did make a guest appearance on the television show (Bob Crosby, Phil's "replacement", frequently appeared on television through 1956). A frequent guest was the Canadian born singer-violinist Gisele Mackenzie.
Benny was able to attract guests who rarely, if ever, appeared on television. In 1953, both Marilyn Monroe and Humphrey Bogart made their television debuts on Benny's program.
Canadian singer Gisele MacKenzie, who toured with Benny in the early 1950s, guest starred seven times on The Jack Benny Program. Benny was so impressed with MacKenzie's talents that he served as co-executive producer and guest starred on her 1957–1958 NBC variety show, The Gisele MacKenzie Show.
In 1964, Walt Disney was a guest, primarily to promote his production of Mary Poppins. Benny persuaded Disney to give him over 100 free admission tickets to Disneyland for his friends, but later in the show Disney apparently sent his pet tiger after Benny as revenge, at which point Benny opened his umbrella and soared above the stage like Mary Poppins.
In due course the ratings game finally got to Benny, too. CBS dropped the show in 1964, citing Benny's lack of appeal to the younger demographic the network began courting, and he went to NBC, his original network, in the fall, only to be out-rated by CBS's Gomer Pyle, U.S.M.C. The network dropped Benny at the end of the season. He continued to make occasional specials into the 1970s. His last television appearance was in 1974, on a Dean Martin Roast for Lucille Ball. The videotaped show was telecast just a few weeks after his death.
In his unpublished autobiography, I Always Had Shoes (portions of which were later incorporated by Jack's daughter, Joan, into her memoir of her parents, Sunday Nights at Seven), Benny said that he, not NBC, made the decision to end his TV series in 1965. He said that while the ratings were still very good (he cited a figure of some 18 million viewers per week, although he qualified that figure by saying he never believed the ratings services were doing anything more than guessing, no matter what they promised), advertisers were complaining that commercial time on his show was costing nearly twice as much as what they paid for most other shows, and he had grown tired of what was called the "rate race." Thus, after some three decades on radio and television in a weekly program, Jack Benny went out on top. In fairness, Benny himself shared Fred Allen's ambivalence about television, though not quite to Allen's extent. "By my second year in television, I saw that the camera was a man-eating monster...It gave a performer close-up exposure that, week after week, threatened his existence as an interesting entertainer."
In a joint appearance with Phil Silvers on Dick Cavett's show, Benny recalled that he had advised Silvers not to appear on television. However, Silvers ignored Benny's advice and proceeded to win several Emmy awards as Sergeant Bilko on the popular series The Phil Silvers Show, while Benny claimed he never won any of the television honors.
Benny may have had an unbilled cameo role in Casablanca (claimed by a contemporary newspaper advertisement and reportedly in the Casablanca press book In response to a follow-up question in his next column, he stated, "I think you're right."
Benny also was caricatured in several Warner Brothers cartoons including Daffy Duck and the Dinosaur (1939, as Casper the Caveman), I Love to Singa, Slap Happy Pappy, and Goofy Groceries (1936, 1940, and 1941 respectively, as Jack Bunny), Malibu Beach Party (1940, as himself), and The Mouse that Jack Built (1959). The last of these is probably the most memorable: Robert McKimson engaged Benny and his actual cast (Mary Livingstone, Eddie Anderson, and Don Wilson) to do the voices for the mouse versions of their characters, with Mel Blanc—the usual Warner Brothers cartoon voicemeister—reprising his old vocal turn as the always-aging Maxwell, always a phat-phat-bang! away from collapse. In the cartoon, Benny and Livingstone agree to spend their anniversary at the Kit-Kat Club, which they discover the hard way is inside the mouth of a live cat. Before the cat can devour the mice, Benny himself awakens from his dream, then shakes his head, smiles wryly, and mutters, "Imagine, me and Mary as little mice." Then, he glances toward the cat lying on a throw rug in a corner and sees his and Livingstone's cartoon alter egos scampering out of the cat's mouth. The cartoon ends with a classic Benny look of befuddlement. It was rumored that Benny requested that, in lieu of monetary compensation, he receive a copy of the finished film.
A skit heard numerous times on radio, and seen many times on television, had Mel Blanc as a Mexican in a sombrero and sarape sitting on a bench. Jack Benny sits down and begins a conversation. To each question asked by Benny, Blanc replies Si, Benny asks his name, Blanc replies Sy and when Benny asks where Blanc is going, Blanc replies, "to see his sister", Sue.
A running gag in Benny's private life concerned George Burns. To Benny's eternal frustration, he could never get Burns to laugh. Burns, on the other hand, could crack Benny up with the least effort. An example of this occurred at a party when Benny pulled out a match to light a cigar. Burns announced to all, "Jack Benny will now perform the famous match trick!" Benny had no idea what Burns was talking about, so he proceeded to light up. Burns observed, "Oh, a new ending!" and Benny collapsed in helpless laughter.
Benny even had a sound-based running gag of his own: his famous basement vault alarm, allegedly installed by Spike Jones, ringing off with a shattering cacophony of whistles, sirens, bells, and blasts, before ending invariably with the sound of a foghorn. The alarm rang off even when Benny opened his safe with the correct combination. The vault also featured a guard named Ed (voiced by Joseph Kearns) who had been on post down below before, apparently, the end of the Civil War, the end of the Revolutionary War, the founding of Los Angeles, on Jack's 38th birthday, and even the beginning of humanity. In one appearance, Ed asked Benny, "By the way, Mr. Benny...what's it like on the outside?" Benny responded, "...winter is nearly here, and the leaves are falling." Ed responded, "Hey, that must be exciting." To which Benny replied (in a stunningly risqué joke for the period), "Oh, no—people are wearing clothes now."
In one episode of the Benny radio show, Ed the Guard actually agreed when Jack invited him to take a break and come back to the surface world, only to discover that modern conveniences and transportation, which hadn't been around the last time he'd been to the surface, terrorized and confused him. (Poor Ed thought a crosstown bus was "a red and yellow dragon.") Finally, Ed decides to return to his post fathoms below and stay there. The basement vault gag was also used in the cartoon The Mouse that Jack Built and an episode of The Lucy Show.
A separate sound gag involved a song Benny had written, "When You Say I Beg Your Pardon, Then I'll Come Back to You." Its inane lyrics and insipid melody guaranteed that it would never be published or recorded, but Benny continued to try to con, extort, or otherwise inveigle some of his musical guests (including The Smothers Brothers and Peter, Paul and Mary) to perform it. None ever made it all the way through.
In keeping with his "stingy" schtick, on one of his television specials he remarked that, to his way of looking at things, a "special" is when the price of coffee is marked down.
The explanation usually given for the "stuck on 39" running joke is that he had celebrated his birthday on-air when he turned 39, and decided to do the same the following year, because "there's nothing funny about 40." Upon his death, having celebrated his 39th birthday 41 times, some newspapers continued the joke with headlines such as "Jack Benny Dies – At 39?"
Another popular running gag concerned the social habits of Benny's on-air orchestra, who were consistently portrayed as a bunch of drunken ne'er-do-wells. Led first by Phil Harris and later by Bob Crosby, the orchestra, and in particular band member Frank Remley, were jokingly portrayed as often being too drunk to play properly, using an overturned bass drum to play cards on just minutes before a show, and so enamored by liquor that the sight of a glass of milk would make them sick. Remley was portrayed in various unflattering situations, such as being thrown into a garbage can by a road sweeper who had found him passed out in the street at 4 am, and on a wanted poster at the Beverly Hills police station. Crosby also got consistent laughs by frequently joking about his more famous brother Bing's vast wealth.
When the Jack Benny Program began appearing on television in 1950, a 1916 Maxwell Model 25 Tourer became one of the production's standard props. Benny's Maxwell later became a 1923 Tourer. In addition to on the program, Benny would often make public appearances in Maxwells. He appeared behind the wheel of one in the film It's a Mad, Mad, Mad, Mad World and drove a Maxwell onto the stage in one of his last television specials. Benny and his archaic auto were featured in a series of television and print ads for Texaco from the 1950s through the 1970s. A series of gags were built around the premise that Benny appreciated the value of "Sky Chief" brand gasoline in keeping his car running smoothly, but was too cheap to buy more than one gallon at a time.
Benny made one of his final television appearances in the fall of 1972 on The Tonight Show with Johnny Carson when Carson celebrated his 10th anniversary. (An audio recording featuring highlights of Benny's appearance is featured on the album Here's Johnny: Magic Moments From The Tonight Show released in 1973.) During this appearance, he stated that he loved the violin so much, "if God came to me and said 'Jack, starting tomorrow I will make you one of the world's great violinists, but no more will you ever be able to tell a joke', I really believe that I would accept that." He also related something Isaac Stern once told him: "You know, Jack, when you walk out in front of a symphony orchestra in white tie and tails and your violin, you actually look like one of the world's great violinists. It's a damned shame you have to play!" Jokes aside, Benny was a serious, dedicated violinist who could play aside Stern and not embarrass himself
In trying to explain his successful life, Benny summed it up by stating "Everything good that happened to me happened by accident. I was not filled with ambition nor fired by a drive toward a clear-cut goal. I never knew exactly where I was going."
Upon his death, his family donated to UCLA his personal, professional, and business papers, as well as a collection of his television shows. The university established the Jack Benny Award in his honor in 1977 to recognize outstanding people in the field of comedy. Johnny Carson was the first award recipient. Benny also donated a Stradivarius violin purchased in 1957 to the Los Angeles Philharmonic Orchestra. Benny had commented, "If it isn't a $30,000 Strad, I'm out $120."
Jack Benny Middle School in Waukegan, Illinois, is named after the famous comedian. Its motto matches his famous statement as "Home of the '39ers".
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| Name | George Gobel |
|---|---|
| Caption | Gobel circa 1954 |
| Birth date | May 20, 1919 |
| Birth place | Chicago, Illinois, U.S. |
| Death date | February 24, 1991 |
| Death place | Los Angeles, California, U.S. |
| Birth name | George Leslie Goebel |
| Occupation | Singer/Actor/Comedian |
| Years active | 1953–1988 |
| Spouse | Alice Gobel |
George Leslie Gobel (May 20, 1919 – February 24, 1991) was an American comedian and actor. He was best known as the star of his own weekly NBC television show, The George Gobel Show, which ran from 1954 to 1960 (the last season on CBS, alternating with The Jack Benny Program).
Gobel graduated from Theodore Roosevelt High School in 1937. Initially a country music singer, he appeared on the National Barn Dance on WLS radio. Gobel enlisted in the United States Army Air Forces during World War II and served as a flight instructor in AT-9 aircraft at Altus, Oklahoma and later in B-26 Marauder bombers at Frederick, Oklahoma. In a 1969 appearance on The Tonight Show with Johnny Carson, Gobel joked about his stateside service, "There was not one Japanese aircraft got past Tulsa." After his discharge at the end of the war, he switched from singing to comedy.
The show's centerpiece was a monologue about his supposed past situations and experiences, as well as stories and sketches allegedly about his real-life wife, Alice (nicknamed "Spooky Old Alice" and played by actress Jeff Donnell). Gobel's hesitant, almost shy delivery and penchant for tangled digressions were the chief sources of comedy, more important than the actual content of the stories. His monologues popularized several catch phrases, notably "Well, I'll be a dirty bird", "You don't hardly get those any more" and "Well then there now" (spoken by James Dean during a brief imitation of Gobel in Rebel Without a Cause).
Gobel had the benefit of some of television's top writers: Hal Kanter, Jack Brooks and Norman Lear. Peggy King was a regular on the series as a vocalist, and the guest stars ranged from Shirley MacLaine and Evelyn Rudie to Bob Feller, Phyllis Avery and Vampira.
Gobel labeled himself "Lonesome George," and the nickname stuck for the rest of his career. The TV show typically included a segment in which Gobel appeared with a guitar, started to sing, then got sidetracked into a story, with the song always left unfinished after fitful starts and stops, a comedy approach that prefigured the Smothers Brothers. He had constructed a special version of the Gibson L-5 archtop guitar featuring diminished dimensions of neck scale and body depth, befitting his own small stature. Several dozen of this "L-5CT" or "George Gobel" model were produced in the late 1950s and early 1960s. He also played the harmonica.
In 1957, three U.S. Air Force B-52 Stratofortress bombers made the first nonstop round-the-world flight by turbojet aircraft. One of the bombers was called "Lonesome George." The crew later appeared on Gobel's primetime television show and recounted the mission, which took them 45 hours and 19 minutes. Lonesome George, the tortoise, is also named after Gobel.
From 1958 to 1961, Gobel appeared in Las Vegas at the El Rancho Vegas and in Reno at the Mapes Hotel.
In the 1970s, Gobel was a regular panelist on the television game show Hollywood Squares hosted by Peter Marshall. He was also the voice of Father Mouse the 1974 Christmas special Twas the Night Before Christmas and sang Give Your Heart a Try in the special. In the early 1980s, Gobel played Otis Harper, Jr., the mayor of Harper Valley in the television series based on the film Harper Valley PTA.
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| Name | Fred MacMurray |
|---|---|
| Caption | Fred MacMurray in Double Indemnity (1944) |
| Birth name | Fredrick Martin MacMurray |
| Birth date | August 30, 1908 |
| Birth place | Kankakee, Illinois, United States |
| Death date | November 05, 1991 |
| Death place | Santa Monica, California, United States |
| Occupation | Actor |
| Years active | 1929–1978 |
| Spouse | Lillian Lamont (1936–1953; her death) 2 adopted childrenJune Haver (1954–1991; his death) twin daughters (adopted) |
Frederick Martin "Fred" MacMurray (August 30, 1908 – November 5, 1991) was an American actor who appeared in more than 100 movies and a successful television series during a career that spanned nearly a half-century, from 1930 to the 1970s.
MacMurray is well known for his role in the 1944 film noir Double Indemnity directed by Billy Wilder, which he starred in with Barbara Stanwyck. Later in his career, he became better known as the paternal Steve Douglas, the widowed patriarch on My Three Sons, which ran on ABC from 1960–1965 and then on CBS from 1965–1972.
In 1930, he recorded a tune for the Gus Arnheim Orchestra as a featured vocalist on All I Want Is Just One Girl on the Victor 78 label. Before he signed on with Paramount Pictures in 1934, he had already appeared on Broadway in Three's a Crowd (1930–31) with Sydney Greenstreet and alongside Bob Hope in the original production of Roberta (1933–34).
In his heyday, MacMurray worked with some of Hollywood's greatest names, including directors Billy Wilder and Preston Sturges and actors Barbara Stanwyck, Humphrey Bogart and Marlene Dietrich. He played opposite Claudette Colbert in seven films, beginning with The Gilded Lily. He co-starred with Katharine Hepburn in Alice Adams and with Carole Lombard in four films, Hands Across the Table, The Princess Comes Across, Swing High, Swing Low and True Confession.
in Swing High, Swing Low (1937)]]
Usually cast in light comedies as a decent, thoughtful character (The Trail of the Lonesome Pine) and in melodramas (Above Suspicion 1943) and musicals (Where Do We Go from Here? 1945), MacMurray had become one of Hollywood's highest-paid actors; for 1943, when his salary reached $420,000, he was the highest-paid actor in Hollywood, and the fourth highest-paid American.
Despite being typecast as a "nice guy", MacMurray often said his best roles were when he was cast against type by Wilder. In 1944, he played the role of Walter Neff, an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity. Sixteen years later, he played Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning comedy The Apartment, with Shirley MacLaine and Jack Lemmon. In another turn in the "not so nice" category, MacMurray played the cynical, duplicitous Lieutenant Thomas Keefer in 1954's The Caine Mutiny
MacMurray's career got its second wind beginning in 1959, when he was cast as the father figure in a popular Disney comedy, The Shaggy Dog.
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| Name | Dolly Rebecca Parton |
|---|---|
| Background | solo_singer |
| Birth name | Dolly Rebecca Parton |
| Born | January 19, 1946 |
| Birth place | Sevierville, Tennessee |
| Genre | Country, country pop, bluegrass |
| Voice type | Soprano) is an American singer-songwriter, author, multi-instrumentalist, actress and philanthropist, best-known for her work in country music. |
| - style | "text-align:center;" |
| - style | "text-align:center;" |
| |- style | "text-align:center;" |
| - style | "text-align:center;" |
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