A top hat, silk hat, cylinder hat, chimney pot hat or stove pipe hat (sometimes also known by the nickname "topper") is a tall, flat-crowned, broad-brimmed hat, predominantly worn from the latter part of the 18th to the middle of the 20th century. Now, it is usually worn only with morning dress or white tie, in dressage, as servants' or doormen's livery, or as a fashion statement. The top hat is sometimes associated with the upper class, becoming a target for satirists and social critics. It was particularly used as a symbol of capitalism in cartoons in socialist and communist media, long after the headgear had been abandoned by those satirized. It was a part of the dress of Uncle Sam and used as a symbol of US monopoly power. By the end of World War I, it had become a rarity, though it continued to be worn daily for formal wear, such as in London at various positions in the Bank of England and City stockbroking, or boys at some public schools.

The top hat persisted in politics and international diplomacy for many years, including U.S. presidential inaugurations, last being used in 1961. Top hats are still associated with stage magic, in particular various hat tricks.

History

Top hats started to take over from the tricorne at the end of the 18th century; a painting by Charles Vernet of 1796, ''Un Incroyable'', shows a French dandy (one of the ''Incroyables et Merveilleuses'') wearing such a hat. The first silk top hat in England is credited to George Dunnage, a hatter from Middlesex, in 1793. Starting in the 1890s, it was claimed that a London haberdasher named John Hetherington introduced the top hat in 1797, but this is untrue. In 1803, Jägers in the Imperial Russian Army began wearing top hats (Some would say that it was more of a variation of the shako), but dropped them in 1812, to the more suitable ''Litwka'' Shako, along with the rest of the armies foot units.

Within twenty years top hats had become popular with all social classes, with even workmen wearing them. At that time those worn by members of the upper classes were usually made of felted beaver fur; the generic name "stuff hat" was applied to hats made from various non-fur felts. The hats became part of the uniforms worn by policemen and postmen (to give them the appearance of authority); since these people spent most of their time outdoors, their hats were topped with black oilcloth.

Between the latter part of 18th century and the early part 19th century, felted beaver fur was slowly replaced by silk "hatter's plush", though the silk topper met with resistance from those who preferred the beaver hat. The 1840s and the 1850s saw it reach its most extreme form, with ever higher crowns and narrow brims. The ''stovepipe hat'' was a variety with mostly straight sides, while one with slightly convex sides was called the "chimney pot". The style we presently refer to as the stovepipe was popularized by Abraham Lincoln during his presidency; though it is postulated that he may never have called it stovepipe himself, merely a silk hat, or a plug hat. It is said that Lincoln would keep important letters inside the hat.

During the 19th century, the top hat developed from a fashion into a symbol of urban respectability, and this was assured when Prince Albert started wearing them in 1850; the rise in popularity of the silk plush top hat possibly led to a decline in beaver hats, sharply reducing the size of the beaver-trapping industry in North America, though it is also postulated that the beaver numbers were also reducing at the same time. Whether it directly impacted or was coincidental to the decline of the beaver trade is debatable.

James Laver once observed that an assemblage of "toppers" resembled factory chimneys and thus added to the mood of the industrial era. In England, post-Brummel dandies went in for flared crowns and swooping brims. Their counterparts in France, known as the “Incroyables,” wore top hats of such outlandish dimensions that there was no room for them in overcrowded cloakrooms until Antoine Gibus invented the collapsible top hat in 1812.

A Gibus has springs inside allowing it to be folded flat by hand and stored conveniently, as for example in an Opera house cloak-room. For this reason they are often called ''opera hats'', though the term can also refer to any tall formal men's hat. The characteristic snapping sound upon opening a Gibus suggested another name, the ''Chapeau Claque''. Invented for convenience at the opera, collapsible top hats are still used as eveningwear.

From about the 1850s, people started adopting bowler hats and fedoras, which were more convenient for city life, as well as being suitable for mass production.The Earl of Leicester is credited with the development of the bowler, which he devised as a more utilitarian head covering for his game keepers, preventing them from becoming entangled in low hanging tree branches on his estate.

The top hat is sometimes associated with the upper class, becoming a target for satirists and social critics. It was particularly used as a symbol of capitalism in cartoons in socialist and communist media, long after the headgear had been abandoned by those satirized. It was a part of the dress of Uncle Sam and used as a symbol of U.S. monopoly power. Indeed, the character Rich Uncle Pennybags, who personifies financial monopoly in the board game Monopoly, wears a top hat.

By the end of World War I, it had become a rarity, though it continued to be worn daily for formal wear, such as in London at various positions in the Bank of England and City stockbroking, or boys at some public schools.

The top hat persisted in politics and international diplomacy for many years. In the Soviet Union, there was a fierce debate as to whether its diplomats should follow the international conventions and wear a top hat, with the pro-toppers winning the vote by a large majority. Top hats were part of formal wear for U.S. presidental inaugurations for many years. President Dwight D. Eisenhower omitted the hat for his inauguration, and John F. Kennedy brought the top hat back for his inauguration (an irony, since he later became famous for disliking all hats). Kennedy did it in part to differ from Eisenhower (though Kennedy did not wear it at his swearing in and during his inaugural speech). However, the next president, Johnson, did not wear a top hat for any part of his inauguration in 1964, and the hat has not been worn since for this purpose.

Top hats are associated with stage magic, in particular the hat trick. In 1814, the French magician Comte became the first conjurer on record to pull a white rabbit out of a top hat though this is also attributed to the much later John Henry Anderson.

Description

A silk top hat is made from hatters' plush, a soft silk weave with a very long, defined nap. This is very rare now, since it is no longer in general production, and it is thought that there are no looms capable of producing the traditional material any more; the last looms apparently being destroyed by the last owner after a violent breakup with his brother. Because of this, the secondhand top hat market is very lively, with antique models in wearable condition typically hard to find; price often varies with size (larger sizes are typically more expensive) and condition, immaculate condition being much more expensive. Many surviving hats are in sizes smaller than an average man today can wear. Silk top hats can be inherited, bought refurbished, or bought second-hand and then refurbished if necessary.

Construction

A town-weight silk top hat is made by first blocking a piece of cheesecloth that has been coated with shellac on a wooden top hat block (which is made of several interconnecting pieces like a puzzle so the block can be removed from the shell, as the opening is narrower than top of the crown) to form the shell. After the shell has more or less dried but is still a bit sticky, the block is removed and the silk plush, which comes in several different pieces, is cut to the correct pattern, then stuck onto the shell. The top flat part of the crown uses a single flat disc of silk plush that has a circular nap. The sides consist of one or two rectangular pieces with the ends cut at a diagonal. The edge of the crown where the side pieces and the flat disc meet are carefully hand stitched together. The side pieces where the seams meet at the sides are not stitched as the silk nap conceals the seams. The upper brim is also covered with a piece of silk plush or with silk petersham (a ribbed silk). The underbrim is also covered with either cloth or silk. After the hat has fully dried, the brim is curled and bound with silk grosgrain ribbon, and a hat band (either silk grosgrain with or without a bow, or a black wool mourning band without a bow) is installed. Finally, the lining and the leather sweatband are carefully hand-stitched in.

The construction can vary; reinforced toppers sometimes called "country-weight" included greater layers of calico and shellac used to provide a strengthened hat that was traditionally suitable for riding and hunting, though it may not always conform to modern safety standards.

In the present

The standard top hat is a hard, black silk hat, with fur now often used. The acceptable colours of hats are much as they have traditionally been, with white hats (which are grey), a daytime racing colour, worn at the less formal occasions demanding a top hat, such as Royal Ascot, or with a morning suit. In the U.S. top hats are worn widely in coaching, a driven horse discipline as well as for formal riding to hounds.

The collapsible silk opera hat, or ''crush hat'', always black, is still worn on occasions worn with evening wear as part of white tie, and is still made by a few companies, since the materials, satin or grosgrain silk, are still available. The other alternative hat for eveningwear is the normal hard shell.

The members of the "Inner Circle" of the Punxsutawney, Pennsylvania Groundhog Club wear top hats on February 2 of every year when they perform the Groundhog Day ceremonies with Punxsutawney Phil.

Freemasonry

In Freemasonry top hats are often associated with the position of Worshipful Master as they are the only member allowed the privilege to wear one, or another appropriate head covering to signify their leadership within the lodge. It is also common for Worshipful Masters to receive top hat related trinkets and gifts on either the day of their installation or as a going away present. In other countries, especially within certain systems in Germany, top hats are worn by all members of the lodge.

In literature

Raskolnikov from the novel ''Crime and Punishment'' wore a top hat from Zimmerman's shop before killing the pawn broker, but thought better of wearing it to the murder, since it was already unusual and thus too conspicuous in 1860s Russia.

References

Further reading

Neil Steinberg, ''Hatless Jack — The President, the Fedora and the Death of the Hat'', 2005, Granta Books

External links

britishpathe.com, vintage footage of how silk top hats are made by Patey.

Category:Hats Category:History of clothing (Western fashion) Category:History of fashion Category:Rider apparel Category:1910s fashion Category:1890s fashion Category:1880s fashion Category:1900s fashion Category:1920s fashion Category:1930s fashion Category:1940s fashion Category:1950s fashion

bg:Цилиндър (шапка) ca:Barret de copa alta de:Zylinder (Hut) es:Sombrero de copa alta eo:Cilindro (ĉapelo) fr:Haut-de-forme is:Pípuhattur it:Cilindro (abbigliamento) he:כובע צילינדר la:Petasus cylindricus nl:Hogehoed ja:シルクハット no:Flosshatt nds:Spint pl:Cylinder (kapelusz) pt:Cartola ro:Joben ru:Цилиндр (головной убор) sco:Lum hat sk:Cylinder (klobúk) sl:Cilinder (pokrivalo) fi:Silinterihattu sv:Cylinderhatt tr:Silindir şapka uk:Циліндр (головний убір) zh:大禮帽

{{infobox person| name	Fred Astaire
birth name	Frederick Austerlitz
birth date	May 10, 1899
birth place	Omaha, Nebraska,United States
death date	June 22, 1987
death place	Los Angeles, California,United States
occupation	Actor, dancer, singer, choreographer
years active	1904–81
spouse	Phyllis Livingston Potter (1933–54; her death)Robyn Smith(1980–87; his death)
relatives	Adele Astaire(sister, deceased) }}

Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American film and Broadway stage dancer, choreographer, singer and actor. His stage and subsequent film career spanned a total of 76 years, during which he made 31 musical films. He was named the fifth Greatest Male Star of All Time by the American Film Institute. He is particularly associated with Ginger Rogers, with whom he made ten films.

Gene Kelly, another major innovator in filmed dance, said that "the history of dance on film begins with Astaire". Beyond film and television, many classical dancers and choreographers, Rudolf Nureyev, Sammy Davis Jr., Michael Jackson, Gregory Hines, Mikhail Baryshnikov, George Balanchine and Jerome Robbins among them, also acknowledged his importance and influence.

Life and career

1899–1917: Early life and career

Astaire was born in Omaha, Nebraska, the son of Johanna "Ann" (née Geilus) and Frederic "Fritz" Austerlitz (born September 8, 1868, as Friedrich Emanuel Austerlitz). Astaire's mother was born in the United States to Lutheran German immigrants from East Prussia and Alsace, while Astaire's father was born in Linz, Austria, to Jewish parents who had converted to Catholicism.

After arriving in New York City at age 24 on October 26, 1892, and being processed at Ellis Island, Astaire's father, hoping to find work in his brewing trade, moved to Omaha, Nebraska, and landed a job with the Storz Brewing Company. Astaire's mother dreamed of escaping Omaha by virtue of her children's talents, after Astaire's sister, Adele Astaire, early on revealed herself to be an instinctive dancer and singer. She planned a "brother-and-sister act," which was common in vaudeville at the time. Although Astaire refused dance lessons at first, he easily mimicked his older sister's step and took up piano, accordion and clarinet.

When their father suddenly lost his job, the family moved to New York City to launch the show business career of the children. Despite Adele and Fred's teasing rivalry, they quickly acknowledged their individual strengths, his durability and her greater talent. Sister and brother took the name "Astaire" in 1905, as they were taught dance, speaking, and singing in preparation for developing an act. Family legend attributes the name to an uncle surnamed "L'Astaire".

Their first act was called ''Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty''. Fred wore a top hat and tails in the first half and a lobster outfit in the second. The goofy act debuted in Keyport, New Jersey, in a "tryout theater." The local paper wrote, "the Astaires are the greatest child act in vaudeville."

As a result of their father's salesmanship, Fred and Adele rapidly landed a major contract and played the famed Orpheum Circuit not only in Omaha, but throughout the United States. Soon Adele grew to at least three inches taller than Fred and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble from the Gerry Society and the child labor laws of the time. In 1912, Fred became an Episcopalian.

The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire's dancing was inspired by Bill "Bojangles" Robinson and John "Bubbles" Sublett. From vaudeville dancer Aurelio Coccia, they learned the tango, waltz and other ballroom dances popularized by Vernon and Irene Castle.

Some sources state that the Astaire siblings appeared in a 1915 film entitled ''Fanchon, the Cricket'', starring Mary Pickford, but the Astaires have consistently denied this.

Fred Astaire first met George Gershwin, who was working as a song plugger in Jerome H. Remick's, in 1916. Fred had already been hunting for new music and dance ideas. Their chance meeting was to deeply affect the careers of both artists.

Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. The Astaires broke into Broadway in 1917 with ''Over the Top'', a patriotic revue.

1917–1933: Stage career in Broadway and London

They followed up with several more shows, and of their work in ''The Passing Show of 1918'' Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."

By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, due in part to Fred's careful preparation and strong supporting choreography.

During the 1920s, Fred and Adele appeared on Broadway and on the London stage in shows such as George and Ira Gershwin's ''Lady Be Good'' (1924) and ''Funny Face'' (1927), and later in ''The Band Wagon'' (1931), winning popular acclaim with the theater crowd on both sides of the Atlantic. By then, Astaire's tap dancing was recognized as among the best, as Robert Benchley wrote in 1930, "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world."

After the close of ''Funny Face'', the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but were not considered suitable for films.

They split in 1932 when Adele married her first husband, Lord Charles Arthur Francis Cavendish, a son of the Duke of Devonshire. Fred Astaire went on to achieve success on his own on Broadway and in London with ''Gay Divorce'', while considering offers from Hollywood. The end of the partnership was traumatic for Astaire, but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and with a new partner (Claire Luce), he created a romantic partnered dance to Cole Porter's "Night and Day", which had been written for ''Gay Divorce''. Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know." The success of the stage play was credited to this number, and when recreated in the film version of the play ''The Gay Divorcee'' (1934), it ushered in a new era in filmed dance. Recently, film footage taken by Fred Stone of Astaire performing in ''Gay Divorce'' with Luce's successor, Dorothy Stone, in New York in 1933 was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire.

1933–1939: Astaire and Rogers at RKO

According to Hollywood folklore, a screen test report on Astaire for RKO Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years later. Astaire later insisted that the report had actually read: "Can't act. Slightly bald. ''Also dances''". In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test." However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film ''Dancing Lady''.

On his return to RKO Pictures, he got fifth billing alongside Ginger Rogers in the 1933 Dolores del Río vehicle ''Flying Down to Rio''. In a review, ''Variety'' magazine attributed its massive success to Astaire's presence: "The main point of ''Flying Down to Rio'' is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this ''team'' idea it's ''out!'' I've just managed to live down one partnership and I don't want to be bothered with any more." He was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including ''The Gay Divorcee'', ''Roberta'' (1935), ''Top Hat'' (1935), ''Follow the Fleet'' (1936), ''Swing Time'' (1936), ''Shall We Dance'' (1937), and ''Carefree'' (1938). Six out of the nine Astaire-Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex."

Astaire received a percentage of the films' profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.

Astaire is credited with two important innovations in early film musicals. First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will." Astaire maintained this policy from ''The Gay Divorcee'' (1934) onwards (until overruled by Francis Ford Coppola, who directed ''Finian's Rainbow'' (1968), Astaire's last film musical). Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire — which he termed his "sock solo" — a partnered comedy dance routine, and a partnered romantic dance routine.

Dance commentators Arlene Croce, Hannah Hyam and John Mueller consider Rogers to have been Astaire's greatest dance partner, while recognizing that some of his later partners displayed superior technical dance skills, a view shared by Hermes Pan and Stanley Donen. Film critic Pauline Kael adopts a more neutral stance, while ''Time'' magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."

Mueller sums up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before ["Flying Down to Rio"]. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."

For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story ... they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea ... No loafing on the job on an Astaire picture, and no cutting corners."

Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with ''A Damsel in Distress'' in 1937 with an inexperienced, non-dancing Joan Fontaine, unsuccessfully as it turned out. He returned to make two more films with Rogers, ''Carefree'' (1938) and ''The Story of Vernon and Irene Castle'' (1939). While both films earned respectable gross incomes, they both lost money due to increased production costs and Astaire left RKO. Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 at MGM for their final outing, ''The Barkleys of Broadway''.

1940–1947: Drifting to an early retirement

In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell — considered the finest female tap-dancer of her generation — in ''Broadway Melody of 1940'' where they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine". In his autobiography ''Steps in Time'', Astaire remarked, "She 'put 'em down like a man', no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself."

He played alongside Bing Crosby in ''Holiday Inn'' (1942) and later ''Blue Skies'' (1946), but in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' on the Ritz". Other partners during this period included Paulette Goddard in ''Second Chorus'' (1940), in which he dance-conducted the Artie Shaw orchestra.

He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos: the first ''You'll Never Get Rich'' (1941) catapulted Hayworth to stardom and provided Astaire with his first opportunity to integrate Latin-American dance idioms into his style, taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, ''You Were Never Lovelier'' (1942) was equally successful, and featured a duet to Kern's "I'm Old Fashioned" which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama ''The Sky's the Limit'' (1943) where he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona and confused contemporary critics.

His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy ''Yolanda and the Thief'' which featured an avant-garde surrealistic ballet, and the musical revue ''Ziegfeld Follies'' (1946) which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide", a Gershwin song Astaire had introduced with his sister Adele back in 1927. While ''Follies'' was a hit, ''Yolanda'' bombed at the box office and Astaire, ever insecure and believing his career was beginning to falter surprised his audiences by announcing his retirement during the production of ''Blue Skies'' (1946), nominating "Puttin' on the Ritz" as his farewell dance.

After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and went on to found the Fred Astaire Dance Studios in 1947 — which he subsequently sold in 1966.

1948–1957: Productive years with MGM and second retirement

thumb|In ''Daddy Long Legs'' (1955)However, he soon returned to the big screen to replace the injured Kelly in ''Easter Parade'' opposite Judy Garland, Ann Miller and Peter Lawford, and for a final reunion with Rogers in ''The Barkleys of Broadway'' (1949). He then went on to make more musicals throughout the 1950s: ''Let's Dance'' (1950) with Betty Hutton, ''Royal Wedding'' (1951) with Jane Powell, ''Three Little Words'' (1950) and ''The Belle of New York'' (1952) with Vera-Ellen, ''The Band Wagon'' (1953) and ''Silk Stockings'' (1957) with Cyd Charisse, ''Daddy Long Legs'' (1955) with Leslie Caron, and ''Funny Face'' (1957) with Audrey Hepburn.

During 1952 Astaire recorded ''The Astaire Story'', a four-volume album with a quintet led by Oscar Peterson. The album provided a musical overview of Astaire's career, and was produced by Norman Granz. ''The Astaire Story'' later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama ''On the Beach'' (1959).

1958–1981: Branching out into televised dance and straight acting

Astaire did not retire from dancing completely. He made a series of four highly rated Emmy Award-winning musical specials for television in 1958, 1959, 1960, and 1968, each featuring Barrie Chase, with whom Astaire enjoyed an Indian summer of dance creativity. The first of these programs, 1958's ''An Evening with Fred Astaire'', won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape, and has recently been restored. The restoration won technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein, who restored the original videotape, transferring its contents to a modern format, and filling in gaps where the tape had deteriorated with kinescope footage. Astaire personally won the Emmy for Best Single Performance by an Actor but the choice had a controversial backlash because many felt that his dancing in the special was not the type of "acting" the award was designed for. At one point Astaire even offered to return the award, but the Television Academy refused to consider it.

Fred played the role of Julian Osborne in the 1959 movie ''On the Beach'' and was nominated a Golden Globe Best Supporting Actor award for his performance, losing to Stephen Boyd in ''Ben Hur'' . Astaire's last major musical film was ''Finian's Rainbow'' (1968), directed by Francis Ford Coppola. He shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Fort Knox it will multiply. His dance partner was Petula Clark, who portrayed his skeptical daughter. He admitted to being as nervous about singing with her as she confessed to being apprehensive about dancing with him. Unfortunately, the film was a box-office failure, though it has gained a strong reputation over the years since its release.

Astaire continued to act into the 1970s, appearing on television as the father of Robert Wagner's character of Alexander Mundy in ''It Takes a Thief'' and in films such as ''The Towering Inferno'' (1974), in which he danced with Jennifer Jones and for which he received his only Academy Award nomination, in the category of Best Supporting Actor. He voiced the mailman narrator in 1970's classic animated film ''Santa Claus is Comin' to Town''. He appeared in the first two ''That's Entertainment!'' documentaries in the mid 1970s. In the second, aged seventy-six, he performed a number of song-and-dance routines with Kelly, his last dance performances in a musical film. In the summer of 1975, he made three albums in London, ''Attitude Dancing'', ''They Can't Take These Away From Me'', and ''A Couple of Song and Dance Men'', the last an album of duets with Bing Crosby. In 1976, he played a supporting role as a dog owner in the cult movie ''The Amazing Dobermans'', co-starring Barbara Eden and James Franciscus. Fred Astaire played Dr. Seamus Scully in the French film ''The Purple Taxi'' (1977). In 1978, he co-starred with Helen Hayes in a well-received television film, ''A Family Upside Down,'' in which they play an elderly couple coping with failing health. Astaire won an Emmy Award for his performance. He made a well-publicized guest appearance on the science fiction television series ''Battlestar Galactica'' in 1979, as Chameleon, the possible father of Starbuck, in "The Man with Nine Lives", a role written for him by Donald P. Bellisario. Astaire asked his agent to obtain a role for him on ''Galactica'' because of his grandchildren's interest in the series. His final film role was the 1981 adaptation of Peter Straub's novel ''Ghost Story.'' This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks, Jr.

Working methods and influence on filmed dance

Astaire was a virtuoso dancer, able to convey light-hearted venturesomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing. Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature "The Belle of New York", it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was re-shot. The 1994 documentary ''That's Entertainment! III'' shows the two performances side-by-side in split screen. Frame for frame, the two performances are absolutely identical, down to the subtlest gesture.

Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other black rhythms, classical dance and the elevated style of Vernon and Irene Castle, to create a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance, and set standards against which subsequent film dance musicals would be judged. He termed his eclectic approach his "outlaw style", an unpredictable and instinctive blending of personal artistry. His dances are economical yet endlessly nuanced, as Jerome Robbins stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive." Astaire further observes:

Working out the steps is a very complicated process — something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern. If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop!"

With very few exceptions, Astaire created his routines in collaboration with other choreographers, primarily Hermes Pan. They would often start with a blank slate:

"For maybe a couple of days we wouldn't get anywhere — just stand in front of the mirror and fool around ... Then suddenly I'd get an idea or one of them would get an idea ... So then we'd get started ... You might get practically the whole idea of the routine done that day, but then you'd work on it, edit it, scramble it, and so forth. It might take sometimes as long as two, three weeks to get something going."

Frequently, a dance sequence was built around two or three principal ideas, sometimes inspired by his own steps or by the music itself, suggesting a particular mood or action. Many of his dances were built around a "gimmick", such as dancing on the walls in "Royal Wedding," or dancing with his shadows in ''Swing Time'', that he or his collaborator had thought up earlier and saved for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin, working with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators.

His perfectionism was legendary; however, his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks, and record the singing and music. With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the entire process, frequently asking colleagues for acceptance for his work, as Vincente Minnelli stated, "He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes ... He always thinks he is no good." As Astaire himself observed, "I've never yet got anything 100% right. Still it's never as bad as I think it is."

Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the admiration of such twentieth century dance legends as Gene Kelly, George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Rudolf Nureyev, Michael Jackson and Bill Robinson. Balanchine compared him to Bach, describing him as "the most interesting, the most inventive, the most elegant dancer of our times", while for Baryshnikov he was "a genius ... a classical dancer like I never saw in my life".

Influence on popular song

Extremely modest about his singing abilities (he frequently claimed that he couldn't sing), Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" in ''Gay Divorce'' (1932); Irving Berlin's "Isn't This a Lovely Day?", "Cheek to Cheek" and "Top Hat, White Tie and Tails" in ''Top Hat'' (1935), "Let's Face the Music and Dance" in ''Follow the Fleet'' (1936) and "Change Partners" in ''Carefree'' (1938). He first presented Jerome Kern's "The Way You Look Tonight" in ''Swing Time'' (1936); the Gershwins' "They Can't Take That Away From Me" in ''Shall We Dance'' (1937), "A Foggy Day" and "Nice Work if You Can Get it" in ''A Damsel in Distress'' (1937); Johnny Mercer's "One for My Baby" from ''The Sky's the Limit'' (1943) and "Something's Gotta Give" from ''Daddy Long Legs'' (1955); and Harry Warren and Arthur Freed's "This Heart of Mine" from ''Ziegfeld Follies'' (1946).

Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from ''Stop Flirting'' (1923), "Fascinating Rhythm" in ''Lady, Be Good'' (1924), "Funny Face" in ''Funny Face'' (1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting all My Eggs in One Basket" in ''Follow the Fleet'' (1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" in ''Swing Time'' (1936), along with The Gershwins' "Let's Call The Whole Thing Off" from ''Shall We Dance'' (1937). With Judy Garland, he sang Irving Berlin's "A Couple of Swells" from ''Easter Parade'' (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Betty Comden and Adolph Green's "That's Entertainment" from ''The Band Wagon'' (1953).

Although he possessed a light voice, he was admired for his lyricism, diction and phrasing — the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "The world's greatest musical performer." Irving Berlin considered Astaire the equal of any male interpreter of his songs — "as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song." Jerome Kern considered him the supreme male interpreter of his songs and Cole Porter and Johnny Mercer also admired his unique treatment of their work. And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him. In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.

Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" (written with lyricist Johnny Mercer) reaching number four in the Hit Parade of 1936. He recorded his own "It's Just Like Taking Candy from a Baby" with Benny Goodman in 1940, and nurtured a lifelong ambition to be a successful popular song composer.

Awards, honors and tributes

1938 — Invited to place his hand and foot prints in cement at Grauman's Chinese Theatre, Hollywood.

1950 — Ginger Rogers presented an honorary Academy Award to Astaire "for his unique artistry and his contributions to the technique of musical pictures".

1950 — Golden Globe for "Best Motion Picture Actor -Music/Comedy" for ''Three Little Words''

1958 — Emmy Award for "Best Single Performance by an Actor" for ''An Evening with Fred Astaire''

1959 — Dance Magazine award

1960 — Nominated for Emmy Award for "Program Achievement" for ''Another Evening with Fred Astaire''

1960 — Golden Globe Cecil B. DeMille Award for "Lifetime Achievement in Motion Pictures"

1961 — Emmy Award for "Program Achievement" in 1961 for ''Astaire Time''

1961 — Voted Champion of Champions — Best Television performer in annual television critics and columnists poll conducted by ''Television Today'' and ''Motion Picture Daily''

1965 — The George Award from the George Eastman House for "outstanding contributions to motion pictures"

1968 — Nominated for an Emmy Award for ''Musical Variety Program'' for ''The Fred Astaire Show''

1972 — Named Musical Comedy Star of the Century by ''Liberty, "The Nostalgia Magazine"''.

1973 — Subject of a Gala by the Film Society of Lincoln Center

1975 — Academy Award nomination for ''The Towering Inferno''

1975 — Golden Globe for "Best Supporting Actor", BAFTA and David di Donatello awards for ''The Towering Inferno''

1978 — Emmy Award for "Best Actor — Drama or Comedy Special" for ''A Family Upside Down''

1978 — Honored by the Academy of Television Arts & Sciences.

1978 — First recipient of the Kennedy Center Honors

1978 — National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre"

1981 — The Lifetime Achievement Award from the American Film Institute

1982 — The Anglo-American Contemporary Dance Foundation announces the Astaire Awards "to honor Fred Astaire and his sister Adele and to reward the achievement of an outstanding dancer or dancers". The awards have since been renamed The Fred and Adele Astaire Awards

1987 — The Capezio Dance Shoe Award (co-awarded with Rudolph Nureyev)

1987 — Inducted into the National Museum of Dance C.V. Whitney Hall of Fame in Saratoga Springs, New York

1989 — Posthumous award of Grammy Lifetime Achievement Award

1991 — Posthumous induction into the Ballroom Dancer's Hall of Fame

2000 — Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of Lismore, County Waterford, Ireland

2008 — Conference to honor the life and work of Fred Astaire at Oriel College, University of Oxford, June 21–24.

Built in 1905, the Gottlieb Storz Mansion in Astaire's hometown of Omaha includes the "Adele and Fred Astaire Ballroom" on the top floor, which is the only memorial to their Omaha roots.

Astaire is referenced in the 2003 animated feature, ''The Triplets of Belleville'', in which he is eaten by his shoes after a fast-paced dance act.

Personal life

Politically, Astaire was a conservative and a lifelong Republican Party supporter, though he never made his political views publicly known. Along with Bing Crosby, George Murphy, Ginger Rogers and others he was a charter (founding) member of the Hollywood Republican Committee. He was churchgoing, supportive of American military action and was dismissive of the more open sexiness of movies in the 1970s.

Always immaculately turned out, with Cary Grant he was called "the best-dressed actor in American movies". Astaire remained a male fashion icon even into his later years, eschewing his trademark top hat, white tie and tails (which he never really cared for) in favor of a breezy casual style of tailored sports jackets, colored shirts, cravats and slacks — the latter usually held up by the idiosyncratic use of an old tie in place of a belt.

Astaire married for the first time in 1933, to the 25-year-old Phyllis Potter (née Phyllis Livingston Baker, 1908–1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906–1981), after pursuing her ardently for roughly two years. Phyllis's death from lung cancer, at the age of 46, ended 21 years of a blissful marriage and left Astaire devastated. Astaire attempted to drop out of the film ''Daddy Long Legs'' (1955), offering to pay the production costs to date, but was persuaded to stay.

In addition to Phyllis Potter's son, Eliphalet IV, known as Peter, the Astaires had two children. Fred, Jr. (born 1936) appeared with his father in the movie ''Midas Run'', but became a charter pilot and rancher instead of an actor. Ava Astaire McKenzie (born 1942) remains actively involved in promoting her late father's heritage.

His friend David Niven described him as "a pixie — timid, always warm-hearted, with a penchant for schoolboy jokes." Astaire was a lifelong golf and Thoroughbred horse racing enthusiast. In 1946 his horse Triplicate won the prestigious Hollywood Gold Cup and San Juan Capistrano Handicap. He remained physically active well into his eighties. At age seventy-eight, he broke his left wrist while riding his grandson's skateboard.

He remarried in 1980 to Robyn Smith, a jockey almost 45 years his junior. Smith was a jockey for Alfred G. Vanderbilt II.

Astaire died from pneumonia on June 22, 1987. He was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California. One last request of his was to thank his fans for their years of support.

Astaire has never been portrayed on film. He always refused permission for such portrayals, saying, "However much they offer me — and offers come in all the time — I shall not sell." Astaire's will included a clause requesting that no such portrayal ever take place; he commented, "It is there because I have no particular desire to have my life misinterpreted, which it would be."

Stage, film and television work

Musical films

''Dancing Lady'' (1933)

''Flying Down to Rio'' (1933)*

''The Gay Divorcee'' (1934)*

''Roberta'' (1935)*

''Top Hat'' (1935)*

''Follow the Fleet'' (1936)*

''Swing Time'' (1936)*

''Shall We Dance'' (1937)*

''A Damsel in Distress'' (1937)

''Carefree'' (1938)*

''The Story of Vernon and Irene Castle'' (1939)*

''Broadway Melody of 1940'' (1940)

''Second Chorus'' (1940)

''You'll Never Get Rich'' (1941)

''Holiday Inn'' (1942)

''You Were Never Lovelier'' (1942)

''The Sky's the Limit'' (1943)

''Yolanda and the Thief'' (1945)

''Ziegfeld Follies'' (1946)

''Blue Skies'' (1946)

''Easter Parade'' (1948)

''The Barkleys of Broadway'' (1949)*

''Three Little Words'' (1950)

''Let's Dance'' (1950)

''Royal Wedding'' (1951)

''The Belle of New York'' (1952)

''The Band Wagon'' (1953)

''Daddy Long Legs'' (1955)

''Funny Face'' (1957)

''Silk Stockings'' (1957)

''Finian's Rainbow'' (1968)

''That's Entertainment, Part II'' (1976) (narrator and performer)

Performances with Ginger Rogers

Notes

References

Bibliography

External links

Fred Astaire tribute site

Fred Astaire biography at AlsoDances.Net

Time.com: The Great American Flyer Fred Astaire:1899-1987

Time Magazine archive: Astaire essay by Richard Corliss

Astaire's religious views incl. many extracts from his biographers

Astaire or Kelly: A Generation Apart at Indian Auteur

Ava Astaire discusses her father's legacy. (BBC Television — Realplayer required)

"He's in Heaven ... " — In Memoriam Fred Astaire

Radio Interview — Fred Astaire — 1968

Links to photos of Astaire

"Fred Astaire and the art of fun": an essay on the Oxford Fred Astaire conference from TLS, July 16, 2008.

Category:1899 births Category:1987 deaths Category:American Episcopalians Category:Academy Honorary Award recipients Category:American ballroom dancers Category:20th-century actors Category:Traditional pop music singers Category:American crooners Category:American choreographers Category:American people of German descent Category:American people of Austrian-Jewish descent Category:American film actors Category:American tap dancers Category:BAFTA winners (people) Category:BAFTA Award for Best Supporting Actor Category:Best Musical or Comedy Actor Golden Globe (film) winners Category:Best Supporting Actor Golden Globe (film) winners Category:California Republicans Category:Cecil B. DeMille Award Golden Globe winners Category:Deaths from pneumonia Category:Emmy Award winners Category:Grammy Lifetime Achievement Award winners Category:Burials at Oakwood Memorial Park Cemetery Category:Kennedy Center honorees Category:National Museum of Dance Hall of Fame inductees Category:Actors from Omaha, Nebraska Category:RCA Victor artists Category:MGM Records artists Category:Vaudeville performers Category:American racehorse owners and breeders Category:Infectious disease deaths in California Category:Film choreographers

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Name	Tony Bennett
Background	solo_singer
Birth name	Anthony Dominick Benedetto
Born	August 03, 1926Astoria, Queens, New York, U.S.
Genre	Traditional popJazz
Years active	1949–present
Occupation	Singer
Label	Columbia MGM Improv Legacy Recordings
Website	Official website }}

Tony Bennett (born Anthony Dominick Benedetto; August 3, 1926) is an American singer of popular music, standards, show tunes, and jazz.

Raised in New York City, Bennett began singing at an early age. He fought in the final stages of World War II as an infantryman with the U.S. Army in the European Theatre. Afterwards, he developed his singing technique, signed with Columbia Records, and had his first number one popular song with "Because of You" in 1951. Several top hits such as "Rags to Riches" followed in the early 1950s. Bennett then further refined his approach to encompass jazz singing. He reached an artistic peak in the late 1950s with albums such as ''The Beat of My Heart'' and ''Basie Swings, Bennett Sings''. In 1962, Bennett recorded his signature song, "I Left My Heart in San Francisco". His career and his personal life then suffered an extended downturn during the height of the rock music era.

Bennett staged a remarkable comeback in the late 1980s and 1990s, putting out gold record albums again and expanding his audience to the MTV Generation while keeping his musical style intact. He remains a popular and critically praised recording artist and concert performer in the 2000s. Bennett has won fifteen Grammy Awards, two Emmy Awards, been named an NEA Jazz Master and a Kennedy Center Honoree. He has sold over 50 million records worldwide. Bennett is also a serious and accomplished painter, creating works under the name Benedetto that are on permanent public display in several institutions. He is also the founder of Frank Sinatra School of the Arts in Astoria, Queens.

Early life

Anthony Benedetto was born in Astoria, Queens, New York City, the son of Ann (née Suraci) and John Benedetto. His father was a grocer who had emigrated from Podàrgoni, a rural eastern district of the southern Italian city of Reggio Calabria, and his mother was a seamstress. With two other children and a father who was ailing and unable to work, the siblings grew up in poverty. John Benedetto died when Anthony was 10 years old.

Young "Tony" Benedetto grew up listening to Al Jolson, Eddie Cantor, Judy Garland and Bing Crosby as well as jazz artists such as Louis Armstrong, Jack Teagarden and Joe Venuti. An uncle was a tap dancer in vaudeville, giving him an early window into show business. By age 10 he was already singing, and performed at the opening of the Triborough Bridge. Drawing and caricatures were also an early passion of his. He attended New York's High School of Industrial Art where he was studying painting and music, but dropped out at age 16 to help support his family. He worked as a copy boy and runner for the Associated Press in Manhattan. But mostly he set his sights on a professional singing career, performing as a singing waiter in several Italian restaurants around the borough of Queens.

World War II and after

Benedetto was drafted into the United States Army in November 1944, during the final stages of World War II. He did basic training at Fort Dix and Fort Robinson as part of becoming an infantry rifleman. Benedetto ran afoul of a sergeant from the South who disliked the Italian from New York City and heavy doses of KP duty or BAR cleaning resulted. Processed through the huge Le Havre replacement depot, in January 1945, he was assigned as a replacement infantryman to 255th Infantry Regiment of the 63rd Infantry Division, a unit filling in for the heavy losses suffered in the Battle of the Bulge. He moved across France, and later, into Germany. As March 1945 began, he joined the front line and what he would later describe as a "front-row seat in hell."

As the German Army was pushed back to their homeland, Benedetto and his company saw bitter fighting in cold winter conditions, often hunkering down in foxholes as German 88 mm guns fired on them. At the end of March, they crossed the Rhine and entered Germany, engaging in dangerous house-to-house, town-after-town fighting to clean out German soldiers; during the first week of April, they crossed the Kocher River, and by the end of the month reached the Danube. During his time in combat, Benedetto narrowly escaped death several times. The experience made him a patriot and also a pacifist; he would later write, "Anybody who thinks that war is romantic obviously hasn't gone through one." At the war's conclusion he was involved in the liberation of a Nazi concentration camp near Landsberg, where some American prisoners of war from the 63rd Division had also been held.

Benedetto stayed in Germany as part of the occupying force, but was assigned to an informal Special Services band unit that would entertain nearby American forces. His dining with a black friend from high school – at a time when the Army was still segregated – led to his being demoted and reassigned to Graves Registration Service duties. Subsequently, he sang with the 314th Army Special Services Band under the stage name Joe Bari (a name he had started using before the war, chosen after the city and province in Italy and as a partial anagram of his family origins in Calabria). He played with many musicians who would have post-war careers.

Upon his discharge from the Army and return to the States in 1946, Benedetto studied at the American Theatre Wing on the GI Bill. He was taught the bel canto singing discipline, which would keep his voice in good shape for his entire career. He continued to perform wherever he could, including while waiting tables. Based upon a suggestion from a teacher at American Theatre Wing, he developed an unusual approach that involved imitating, as he sang, the style and phrasing of other musicians—such as that of Stan Getz's saxophone and Art Tatum's piano—helping him to improvise as he interpreted a song. He made a few recordings as Bari in 1949 for small Leslie Records, but they failed to sell.

In 1949, Pearl Bailey recognized Benedetto's talent and asked him to open for her in Greenwich Village. She had invited Bob Hope to the show. Hope decided to take Benedetto on the road with him, but suggested he use his real name simplified as Tony Bennett. In 1950, Bennett cut a demo of "Boulevard of Broken Dreams" and was signed to the major Columbia Records label by Mitch Miller.

First successes

Warned by Miller not to imitate Frank Sinatra (who was just then leaving Columbia), Bennett began his career as a crooner singing commercial pop tunes. His first big hit was "Because of You", a ballad produced by Miller with a lush orchestral arrangement from Percy Faith. It started out gaining popularity on jukeboxes, then reached #1 on the pop charts in 1951 and stayed there for 10 weeks, selling over a million copies. This was followed to the top of the charts later that year by a similarly-styled rendition of Hank Williams's "Cold, Cold Heart", which helped introduce Williams and country music in general to a wider, more national audience. The Miller and Faith tandem continued to work on all of Bennett's early hits. Bennett's recording of "Blue Velvet" was also very popular and attracted screaming teenaged fans at concerts at the famed Paramount Theater in New York (Bennett did seven shows a day, starting at 10:30 a.m.) and elsewhere.

On February 12, 1952, Bennett married Ohio art student and jazz fan Patricia Beech, whom he had met the previous year after a nightclub performance in Cleveland. Two thousand female fans dressed in black gathered outside the ceremony at New York's St. Patrick's Cathedral in mock mourning. Bennett and Beech would have two sons, D'Andrea (Danny, born around 1954) and Daegal (Dae, born around 1955).

A third #1 came in 1953 with "Rags to Riches". Unlike Bennett's other early hits, this was an up-tempo big band number with a bold, brassy sound and a double tango in the instrumental break; it topped the charts for eight weeks. Later that year the producers of the upcoming Broadway musical ''Kismet'' had Bennett record "Stranger in Paradise" as a way of promoting the show during a New York newspaper strike. The song reached the top, the show was a hit, and Bennett began a long practice of recording show tunes. "Stranger in Paradise" was also a #1 hit in the United Kingdom a year and a half later and started Bennett's career as an international artist.

Once the rock and roll era began in 1955, the dynamic of the music industry changed and it became harder and harder for existing pop singers to do well commercially. Nevertheless, Bennett continued to enjoy success, placing eight songs in the ''Billboard'' during the latter part of the 1950s, with "In the Middle of an Island" reaching the highest at #9 in 1957.

For a month in August–September 1956, Bennett hosted a NBC Saturday night television variety show, called ''The Tony Bennett Show'', as a summer replacement for ''The Perry Como Show''. Patti Page and Julius La Rosa had in turn hosted the two previous months, and they all shared the same singers, dancers, and orchestra. In 1959, Bennett would again fill in for ''The Perry Como Show'', this time alongside Teresa Brewer and Jaye P. Morgan as co-hosts of the summer-long ''Perry Presents.''

A growing artistry

In 1954, the guitarist Chuck Wayne became Bennett's musical director. Bennett released his first long-playing album in 1955, ''Cloud 7''. The album was billed as featuring Wayne and showed Benett's leanings towards jazz. In 1957, Ralph Sharon became Bennett's pianist and musical director, replacing Wayne. Sharon told Bennett that a career singing "sweet saccharine songs like 'Blue Velvet'" wouldn't last long, and encouraged Bennett to focus even more on his jazz inclinations.

The result was the 1957 album ''The Beat of My Heart''. It used well-known jazz musicians such as Herbie Mann and Nat Adderley, with a strong emphasis on percussion from the likes of Art Blakey, Jo Jones, Latin star Candido Camero, and Chico Hamilton. The album was both popular and critically praised. Bennett followed this by working with the Count Basie Orchestra, becoming the first male pop vocalist to sing with Basie's band. The albums ''Basie Swings, Bennett Sings'' (1958) and ''In Person!'' (1959) were the well-regarded fruits of this collaboration, with "Chicago" being one of the standout songs.

Bennett also built up the quality, and therefore, the reputation of his nightclub act; in this he was following the path of Sinatra and other top jazz and standards singers of this era. In June 1962, Bennett staged a highly-promoted concert performance at Carnegie Hall, using a stellar line-up of musicians including Al Cohn, Kenny Burrell, and Candido, as well as the Ralph Sharon Trio. The concert featured 44 songs, including favorites like "I've Got the World on a String" and "The Best Is Yet To Come". It was a big success, further cementing Bennett's reputation as a star both at home and abroad. Bennett also appeared on television, and in October 1962 he sang on the first night of the Johnny Carson ''The Tonight Show''.

Also in 1962, Bennett released the song "I Left My Heart in San Francisco". Although this only reached #19 on the , it spent close to a year on various other charts and increased Bennett's exposure. The album of the same title was a hit and both the single and album achieved gold record status. The song won Grammy Awards for Record of the Year and Best Male Solo Vocal Performance. Over the years, this would become known as Bennett's signature song. In 2001, it was ranked 23rd on an RIAA/NEA list of the most historically significant Songs of the 20th Century.

Bennett's following album, ''I Wanna Be Around'' (1963), was also a top-5 success, with the title track and "The Good Life" each reaching the of the pop singles chart along with the of the Adult Contemporary chart.

The next year brought The Beatles and the British Invasion, and with them still more musical and cultural attention to rock and less to pop, standards, and jazz. Over the next couple of years Bennett had minor hits with several albums and singles based on show tunes – his last top-40 single was the #34 "If I Ruled the World" from ''Pickwick'' in 1965 – but his commercial fortunes were clearly starting to decline. An attempt to break into acting with a role in the poorly received 1966 film ''The Oscar'' met with middling reviews for Bennett; he did not enjoy the experience and did not seek further roles.

A firm believer in the American Civil Rights movement, Bennett participated in the 1965 Selma to Montgomery marches. Years later he would continue this commitment by refusing to perform in apartheid South Africa.

Years of struggle

Ralph Sharon and Bennett parted ways in 1965. There was great pressure on singers such as Lena Horne and Barbra Streisand to record "contemporary" rock songs, and in this vein Columbia Records' Clive Davis suggested that Bennett do the same. Bennett was very reluctant, and when he tried, the results pleased no one. This was exemplified by ''Tony Sings the Great Hits of Today!'' (1970), before which Bennett became physically ill at the thought of recording. It featured misguided attempts at Beatles and other current songs and a ludicrous psychedelic art cover.

Years later Bennett would recall his dismay at being asked to do contemporary material, comparing it to when his mother was forced to produce a cheap dress. By 1972, he had departed Columbia for MGM Records, but found no more success there, and in a couple more years he was without a recording contract.

Bennett and his wife Patricia had been separated since 1965, their marriage a victim of Bennett's spending too much time on the road, among other factors. In 1971, their divorce became official. Bennett had been involved with aspiring actress Sandra Grant since filming ''The Oscar'', and on December 29, 1971 they married. They had two daughters, Joanna (born around 1969) and Antonia (born 1974), and moved to Los Angeles.

Taking matters into his own hands, Bennett started his own record company, Improv. He cut some songs that would later become favorites, such as "What is This Thing Called Love?", and made two well-regarded albums with jazz pianist Bill Evans, ''The Tony Bennett/Bill Evans Album'' (1975) and ''Together Again'' (1976), but Improv lacked a distribution arrangement with a major label and by 1977 it was out of business. A stint living in England, like other American jazz expatriates, did not change his fortunes.

As the decade neared its end, Bennett had no recording contract, no manager, and was not performing any concerts outside of Las Vegas. His second marriage was failing (they would completely separate in 1979, but not officially divorce until 2007). He had developed a drug addiction, was living beyond his means, and had the Internal Revenue Service trying to seize his Los Angeles home. He had hit bottom.

Turnaround

After a near-fatal cocaine overdose in 1979, Bennett called his sons Danny and Dae for help. "Look, I'm lost here," he told them. "It seems like people don't want to hear the music I make."

Danny Bennett, an aspiring musician himself, also came to a realization. The band Danny and his brother had started, Quacky Duck and His Barnyard Friends, had foundered and Danny's musical abilities were limited. However, he had discovered during this time that he did have a head for business. His father, on the other hand, had tremendous musical talent but was having trouble sustaining a career from it and had little financial sense. Danny signed on as his father's manager.

Danny got his father's expenses under control, moved him back to New York, and began booking him in colleges and small theaters to get him away from a "Vegas" image. After some effort, a successful plan to pay back the IRS debt was put into place. Tony Bennett had also reunited with Ralph Sharon as his pianist and musical director. By 1986, Tony Bennett was re-signed to Columbia Records, this time with creative control, and released ''The Art of Excellence''. This became his first album to reach the charts since 1972.

An unexpected audience

By the mid-1980s, the excesses of the disco, punk rock, and new wave eras had given many artists and listeners a greater appreciation for the classic American song. Rock stars such as Linda Ronstadt began recording albums of standards, and such songs began showing up more frequently in movie soundtracks and on television commercials.

Danny Bennett felt strongly that younger audiences, although completely unfamiliar with Tony Bennett, would respond to his music if only given a chance to see and hear it. More crucially, no changes to Tony's appearance (tuxedo), singing style (his own), musical accompaniment (The Ralph Sharon Trio or an orchestra), or song choice (generally the Great American Songbook) were necessary or desirable.

Accordingly, Danny began regularly to book his father on a show with a younger, hip audience, ''Late Night with David Letterman''. This was subsequently followed by appearances on ''Late Night with Conan O'Brien'', ''The Simpsons'', ''Muppets Tonight'', and various MTV programs. In 1993, Bennett played a series of benefit concerts organized by alternative rock radio stations around the country. The plan worked; as Tony later remembered, "I realized that young people had never heard those songs. Cole Porter, Gershwin – they were like, 'Who wrote that?' To them, it was different. If you're different, you stand out."

During this time, Bennett continued to record, first putting out the acclaimed look back ''Astoria: Portrait of the Artist'' (1990), then emphasizing themed albums such as the Sinatra homage ''Perfectly Frank'' (1992) and the Fred Astaire tribute ''Steppin' Out'' (1993). The latter two both achieved gold status and won Grammys for Best Traditional Pop Vocal Performance (Bennett's first Grammys since 1962) and further established Bennett as the inheritor of the mantle of a classic American great.

As Bennett was seen at ''MTV Video Music Awards'' shows side by side with the likes of the Red Hot Chili Peppers and Flavor Flav, and as his "Steppin' Out With My Baby" video received MTV airplay, it was clear that, as ''The New York Times'' said, "Tony Bennett has not just bridged the generation gap, he has demolished it. He has solidly connected with a younger crowd weaned on rock. And there have been no compromises."

The new audience reached its height with Bennett's appearance in 1994 on ''MTV Unplugged''. (He quipped famously on the show, "I've been unplugged my whole career.") Featuring guest appearances by rock and country stars Elvis Costello and k.d. lang (both of whom had a profound respect for the standards genre), the show attracted a considerable audience and much media attention. The resulting ''MTV Unplugged: Tony Bennett'' album went platinum and, besides taking the Best Traditional Pop Vocal Performance Grammy award for the third straight year, also won the top Grammy prize of Album of the Year. At age 68, Tony Bennett had come all the way back.

Painting

Tony Bennett's career as a painter, done under his real name of Benedetto, has also flourished. He followed up his childhood interest with serious training, work, and museum visits throughout his life. He sketches or paints every day, even of views out of hotel windows when he is on tour.

He has exhibited his work in numerous galleries around the world. He was chosen as the official artist for the 2001 Kentucky Derby, and was commissioned by the United Nations to do two paintings, including one for their 50th anniversary. His painting "Homage to Hockney" (for his friend David Hockney, painted after Hockney drew him) is on permanent display at the highly regarded Butler Institute of American Art in Youngstown, Ohio. His "Boy on Sailboat, Sydney Bay" is in the permanent collection at the National Arts Club in Gramercy Park in New York, as is his "Central Park" at the Smithsonian American Art Museum in Washington, D.C. His paintings and drawings have been featured in ''ARTnews'' and other magazines, and sell for as much as $80,000 apiece. Many of his works were published in the art book ''Tony Bennett: What My Heart Has Seen'' in 1996. In 2007, another book involving his paintings, ''Tony Bennett in the Studio: A Life of Art & Music'', became a best-seller among art books.

No retirement

Since his comeback, Bennett has financially prospered; by 1999, his assets were worth $15 to 20 million. He had no intention of retiring, saying "If you study the masters – Picasso, Jack Benny, Fred Astaire – right up to the day they died, they were performing. If you are creative, you get busier as you get older." Indeed, Bennett has continued to record and tour steadily, doing 100 to 200 shows a year. In concert Bennett often makes a point of singing one song (usually "Fly Me to the Moon") without any microphone or amplification, demonstrating to younger audience members the lost art of vocal projection. One show, ''Tony Bennett's Wonderful World: Live From San Francisco'', was made into a PBS special. Bennett also created the idea behind, and starred in the first of, the A&E; Network's popular ''Live By Request'' series, for which he won an Emmy Award. In addition to numerous television guest performances, Bennett has had cameo appearances as himself in films such as ''The Scout'', ''Analyze This'', and ''Bruce Almighty''. In 1998 he made an unlikely but successful appearance at a mud-soaked Glastonbury in an immaculate white suit and tie. Bennett also published ''The Good Life: The Autobiography of Tony Bennett'' in 1998.

A series of albums, often based on themes (Duke Ellington, Louis Armstrong, Billie Holiday, blues, duets) has met with good acceptance; Bennett has won seven more Best Traditional Pop Vocal Performance or Best Traditional Pop Vocal Album Grammys in the subsequent years, most recently for the year 2006. Bennett has sold over 50 million records worldwide during his career.

Accolades came to Bennett. For his contribution to the recording industry, Tony Bennett was given a star on the Hollywood Walk of Fame at 1560 Vine Street. Bennett was inducted into the Big Band and Jazz Hall of Fame in 1997, was awarded the Grammy Lifetime Achievement Award in 2001, and received a lifetime achievement award from the American Society of Composers, Authors, and Publishers (ASCAP) in 2002. In 2002, ''Q'' magazine named Tony Bennett in their list of the "50 Bands To See Before You Die". On December 4, 2005, Bennett was the recipient of a Kennedy Center Honor. Later, a theatrical musical revue of his songs, called ''I Left My Heart: A Salute to the Music of Tony Bennett'' was created and featured some of his best-known songs such as "I Left My Heart in San Francisco", "Because of You", and "Wonderful". The following year, Bennett was inducted into the Long Island Music Hall of Fame.

Bennett frequently donates his time to charitable causes, to the extent that he is sometimes nicknamed "Tony Benefit". In April 2002, he joined Michael Jackson, Chris Tucker and former President Bill Clinton in a fundraiser for the Democratic National Committee at New York's Apollo Theater. He has also recorded public service announcements for Civitan International. In the late 1980s, Bennett entered into a long-term romantic relationship with Susan Crow (born c. 1960), a former New York City schoolteacher. Together they founded Exploring the Arts, a charitable organization dedicated to creating, promoting, and supporting arts education. At the same time they founded (and named after Bennett's friend) the Frank Sinatra School of the Arts in Queens, a public high school dedicated to teaching the performing arts, which opened in 2001 and would have a very high graduation rate. It was a tribute in return, for in a 1965 ''Life'' magazine interview Sinatra had said that: :"For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He's the singer who gets across what the composer has in mind, and probably a little more."

Danny Bennett continues to be Tony's manager while Dae Bennett is a recording engineer who has worked on a number of Tony's projects and who has opened Bennett Studios in Englewood, New Jersey. Tony's younger daughter Antonia is an aspiring jazz singer.

In August 2006, Bennett turned eighty years old. The birthday itself was an occasion for publicity, which then extended through the rest of the following year. ''Duets: An American Classic'' reached the highest place ever on the albums chart for an album by Bennett and garnered two Grammy Awards; concerts were given, including a high-profile one for New York radio station WLTW-FM; a performance was done with Christina Aguilera and a comedy sketch was made with affectionate Bennett impressionist Alec Baldwin on ''Saturday Night Live''; a Thanksgiving-time, Rob Marshall-directed television special ''Tony Bennett: An American Classic'' on NBC, which would win multiple Emmy Awards; receipt of the Billboard Century Award; and guest-mentoring on ''American Idol'' season 6 as well as performing during its finale. He received the United Nations High Commissioner for Refugees' Humanitarian Award. Bennett was awarded the National Endowment for the Arts Jazz Masters Award in 2006, the highest honor that the United States bestows upon jazz musicians.

On June 21, 2007, Bennett married long-time girlfriend Susan Crow in a private civil ceremony in New York that was witnessed by former Governor Mario Cuomo.

The year 2008 saw Bennett making two appearances on "New York State of Mind" with Billy Joel at the final concerts given at Shea Stadium, and in October releasing the album ''A Swingin' Christmas'' with The Count Basie Big Band, for which he made a number of promotional appearances at holiday time. In 2009, Bennett performed at the conclusion of the final Macworld Conference & Expo for Apple Inc., singing the "The Best Is Yet to Come" and "I Left My Heart In San Francisco" to a standing ovation, and later making his Jazz Fest debut in New Orleans. In February 2010, Bennett was one of over 70 artists singing on "We Are the World: 25 for Haiti", a charity single in aid of the 2010 Haiti earthquake. In October he performed "I Left My Heart in San Francisco" at AT&T; Park before the third inning of Game 1 of the 2010 World Series and sang "God Bless America" during the seventh-inning stretch. Days later he sang "America the Beautiful" at the Rally to Restore Sanity and/or Fear in Washington, D.C.

Regarding his choices in music, Bennett reiterated his artistic stance in a 2010 interview: :"I'm not staying contemporary for the big record companies, I don't follow the latest fashions. I never sing a song that's badly written. In the 1920s and '30s, there was a renaissance in music that was the equivalent of the artistic Renaissance. Cole Porter, Johnny Mercer and others just created the best songs that had ever been written. These are classics, and finally they're not being treated as light entertainment. This is classical music."

Awards and recognition

Bennett has won fifteen Grammy Awards, as follows (years shown are the year in which the ceremony was held and the award was given, not the year in which the recording was released):

Best Solo Vocal Performance, Male, 1963, "I Left My Heart in San Francisco"

Record of the Year, 1963, "I Left My Heart in San Francisco"

Best Traditional Pop Vocal Performance, 1993, ''Perfectly Frank''

Best Traditional Pop Vocal Performance, 1994, ''Steppin' Out''

Best Traditional Pop Vocal Performance, 1995, ''MTV Unplugged: Tony Bennett''

Album of the Year, 1995, ''MTV Unplugged: Tony Bennett''

Best Traditional Pop Vocal Performance, 1997, ''Here's to the Ladies''

Best Traditional Pop Vocal Performance, 1998, ''Tony Bennett on Holiday''

Best Traditional Pop Vocal Performance, 2000, ''Bennett Sings Ellington: Hot & Cool''

Lifetime Achievement Award, 2001

Best Traditional Pop Vocal Album, 2003, ''Playing with My Friends: Bennett Sings the Blues''

Best Traditional Pop Vocal Album, 2004, ''A Wonderful World'' (with k.d. lang)

Best Traditional Pop Vocal Album, 2006, ''The Art of Romance''

Best Traditional Pop Vocal Album, 2007, ''Duets: An American Classic''

Best Pop Collaboration with Vocals, 2007, "For Once in My Life" (with Stevie Wonder)

Bennett has won two Emmy Awards, as follows (years shown are the year in which the ceremony was held and the award was given, not the year in which the program aired):

Primetime Emmy Award for Individual Performance in a Variety or Music Program, 1996, ''Live by Request''

Primetime Emmy Award for Individual Performance in a Variety or Music Program, 2007, ''Tony Bennett: An American Classic''

Bennett has gained other notable recognition:

New York City's Bronze Medallion, 1969

Star on the Hollywood Walk of Fame

Inducted into the Big Band and Jazz Hall of Fame, 1997

Lifetime achievement award from the American Society of Composers, Authors, and Publishers, 2002 Kennedy Center Honoree, 2005 Inducted into the Long Island Music Hall of Fame

United Nations High Commissioner for Refugees Humanitarian Award, 2006

National Endowment for the Arts Jazz Masters Award, 2006

Works

Discography

Bennett has released over 70 albums during his career, with almost all being for Columbia Records. The biggest selling of these in the U.S. have been ''I Left My Heart in San Francisco'', ''MTV Unplugged: Tony Bennett'', and ''Duets: An American Classic'', all of which went platinum for shipping one million copies. Eight other albums of his have gone gold in the U.S., including several compilations. Bennett has also charted over 30 singles during his career, with his biggest hits all occurring during the early 1950s and none charting since 1967.

Books

Bennett, Tony. ''Tony Bennett: What My Heart Has Seen''. Rizzoli, 1996. ISBN 0-8478-1972-8.

Bennett, Tony, with Will Friedwald. ''The Good Life: The Autobiography Of Tony Bennett''. Pocket Books, 1998. ISBN 0-671-02469-8.

Bennett, Tony, with Robert Sullivan. ''Tony Bennett in the Studio: A Life of Art & Music''. Sterling Publishing, 2007. ISBN 1402747675.

See also

List of best selling music artists

References

External links

Official Tony Bennett music website

Official Tony Bennett art website

Legacy Records Tony Bennett website

Exploring the Arts website

Official Antonia Bennett music website

The Tony Bennett MySpace Page

Category:1926 births Category:Living people Category:American military personnel of World War II Category:American crooners Category:American jazz singers Category:American male singers Category:American painters Category:American pop singers Category:Emmy Award winners Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:MusiCares Person of the Year Honorees Category:American jazz musicians of Italian descent Category:Kennedy Center honorees Category:People from Astoria, Queens Category:Traditional pop music singers Category:Columbia Records artists Category:Concord Records artists Category:Musicians from New York

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