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name | Charlie Chaplin |
---|---|
birth name | |
birth date | April 16, 1889 |
birth place | Walworth, London, United Kingdom |
death date | |
death place | Vevey, Vaud, Switzerland |
medium | Film, music, mimicry |
nationality | British |
active | 1895–1976 |
genre | Slapstick, mime, visual comedy |
influenced | Marcel MarceauThe Three StoogesFederico FelliniMilton BerlePeter SellersRowan AtkinsonJohnny DeppJacques Tati |
spouse | 1 child 2 children 8 children |
Signature | Firma de Charles Chaplin.svg }} |
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 25 December 1977) was an English comic actor, film director and composer best known for his work during the silent film era. He became the most famous film star in the world before the end of World War I. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy Kid Auto Races at Venice in 1914. From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.
Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s.
In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time. In 2008, Martin Sieff, in a review of the book Chaplin: A Life, wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most". George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
As a child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street. His paternal grandmother's mother was from the Smith family of Romanichals, a fact of which he was extremely proud, though he described it in his autobiography as "the skeleton in our family cupboard". Charles Chaplin Sr. was an alcoholic and had little contact with his son, though Chaplin and his half-brother briefly lived with him and his mistress, Louise, at 287 Kennington Road. The half-brothers lived there while their mentally ill mother lived at Cane Hill Asylum at Coulsdon. Chaplin's father's mistress sent the boy to Archbishop Temple's Boys School. His father died of cirrhosis when Charlie was twelve in 1901. As of the 1901 Census, Chaplin resided at 94 Ferndale Road, Lambeth, as part of a troupe of young male dancers, The Eight Lancashire Lads, managed by William Jackson.
A larynx condition ended the singing career of Hannah Chaplin. After her re-admission to the Cane Hill Asylum, her son was left in the workhouse at Lambeth in south London, moving several weeks later to the Central London District School for paupers in Hanwell.
In 1903 Chaplin secured the role of Billy the pageboy in Sherlock Holmes, written by William Gillette and starring English actor H. A. Saintsbury. Saintsbury took Chaplin under his wing and taught him to marshal his talents. In 1905 Gillette came to England with Marie Doro to debut his new play, Clarice, but the play did not go well. When Gillette staged his one-act curtain-raiser, The Painful Predicament of Sherlock Holmes as a joke on the British press, Chaplin was brought in from the provinces to play Billy. When Sherlock Holmes was substituted for Clarice, Chaplin remained as Billy until the production ended on 2 December. During the run, Gillette coached Chaplin in his restrained acting style. It was during this engagement that the teenage Chaplin fell hopelessly in love with Doro, but his love went unrequited and Doro returned to America with Gillette when the production closed.
They met again in Hollywood eleven years later. She had forgotten his name but, when introduced to her, Chaplin told her of being silently in love with her and how she had broken his young heart. Over dinner, he laid it on thick about his unrequited love. Nothing came of it until two years later, when they were both in New York and she invited him to dinner and a drive. Instead, Chaplin noted, they simply “dined quietly in Marie’s apartment alone.” However, as Kenneth Lynn pointed out, “Chaplin would not have been Chaplin if he had simply dined quietly with Marie.”
Sennett did not warm to Chaplin right away, and Chaplin believed Sennett intended to fire him following a disagreement with Normand. However, Chaplin's pictures were soon a success, and he became one of the biggest stars at Keystone.
Chaplin was given over to Normand, who directed and wrote a handful of his earliest films. Chaplin did not enjoy being directed by a woman, and they often disagreed. Eventually, the two worked out their differences and remained friends long after Chaplin left Keystone.
"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. Arbuckle contributed his father-in-law's bowler hat ('derby') and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devised the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himself owned was the whangee cane.
Chaplin, with his Little Tramp character, quickly became the most popular star in Sennett's company of players. He immediately gained enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, Andorra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.
Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions (in only a handful of other productions did he play characters other than the Tramp). He portrayed a Keystone Kop in A Thief Catcher filmed 5–26 Jan 1914.
The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. The 1931 production City Lights featured no dialogue. Chaplin officially retired the character in the film Modern Times (released 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.
Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature Tillie's Punctured Romance.
The Tramp was featured in the first film trailer to be exhibited in a U.S. cinema, a slide promotion developed by Nils Granlund, advertising manager for the Marcus Loew theatre chain, and shown at the Loew's Seventh Avenue Theatre in Harlem in 1914. In 1915, Chaplin signed a much more favourable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingénue Edna Purviance and comic villains Leo White and Bud Jamison.
Chaplin's popularity continued to soar in the early years following the start of WW1. He started to become noticed by stars of the legitimate theatre. Minnie Maddern Fiske, one of the legends of the stage endorsed Chaplin's artistry in an article in Harper's Weekly(6 May 1915). At the start of her article Mrs. Fiske spoke, "...To the writer Charles Chaplin appears as a great comic artist, possessing inspirational powers and a technique as unfaltering as Rejane's. If it be treason to Art to say this, then let those exalted persons who allow culture to be defined only upon their own terms make the most of it..." In the following years Chaplin would make many friends from the world of the Broadway stage.
Chaplin was emerging as the supreme exponent of silent films, an emigrant himself from London. Chaplin's Tramp enacted the difficulties and humiliations of the immigrant underdog, the constant struggle at the bottom of the American heap and yet he triumphed over adversity without ever rising to the top, and thereby stayed in touch with his audience. Chaplin's films were also deliciously subversive. The bumbling officials enabled the immigrants to laugh at those they feared.
Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-film market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound films in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.
At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918–23) but otherwise gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including Shoulder Arms (1918), The Pilgrim (1923) and the feature-length classic The Kid (1921).
In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.
All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, A Woman of Paris (1923). This was followed by the classic comedies The Gold Rush (1925) and The Circus (1928).
After the arrival of sound films, Chaplin continued to focus on silent films with a synchronised recorded score, which included sound effects and music with melodies based in popular songs or composed by him; The Circus (1928), City Lights (1931), and Modern Times (1936) were essentially silent films. City Lights has been praised for its mixture of comedy and sentimentality. Critic James Agee, for example, wrote in Life magazine in 1949 that the final scene in City Lights was the "greatest single piece of acting ever committed to celluloid".
While Modern Times (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. Modern Times was the first film where Chaplin's voice is heard (in the nonsense song at the end, which Chaplin both performed and wrote the nonsense lyrics to). However, for most viewers it is still considered a silent film.
Although "talkies" became the dominant mode of film making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and see how surprised you are".
It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film Limelight, and another as a singer for the title music of The Circus (1928). The best known of several songs he composed are "Smile", composed for the film Modern Times (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, A Countess from Hong Kong, was a number one hit in several different languages in the late 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from Limelight was a hit in the 1950s under the title "Eternally." Chaplin's score to Limelight won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible decades after it was filmed. Chaplin also wrote scores for his earlier silent films when they were re-released in the sound era, notably The Kid for its 1971 re-release.
Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism, for the portrayal of overt Jewish characters, and the depiction of their persecution. In addition to Hynkel, Chaplin also played a look-alike Jewish barber persecuted by the regime. The barber physically resembled the Tramp character.
At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech denouncing dictatorship, greed, hate, and intolerance, in favour of liberty and human brotherhood.
The film was nominated for Academy awards for Best Picture (producer), Best Original Screenplay (writer) and Best Actor.
In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. Chaplin decided not to re-enter the United States, writing: "Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States."
That Chaplin was unprepared to remain abroad, or that the revocation of his right to re-enter the United States by FBI Director J. Edgar Hoover was a surprise to him, may be apocryphal: An anecdote in some contradiction is recorded during a broad interview with Richard Avedon, celebrated New York portraitist.
Avedon is credited with the last portrait of the entertainer to be taken before his departure to Europe and therefore, the last photograph of him as a singularly “American icon.” According to Avedon, Chaplin telephoned him at his studio in New York City, while on a layover for transportation connections before the final leg of his travel to England. The photographer considered the impromptu self-introduction a prank and angrily answered his caller with the riposte, “If you’re Charlie Chaplin, I’m Franklin Roosevelt!” To mollify Avedon, Chaplin assured the photographer of his authenticity and added the comment, “If you want to take my picture, you better do it now. They are coming after me and I won’t be back. I leave ... (imminently).” Avedon interrupted his production commitments to take Chaplin’s portrait the next day, and never personally saw Chaplin again.
Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed.
Chaplin's final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films with the theme song from A Countess From Hong Kong, "This is My Song", reaching number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964.
In his pictorial autobiography My Life In Pictures, published in 1974, Chaplin indicated that he had written a screenplay for his daughter, Victoria; entitled The Freak, the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote. However, his health declined steadily in the 1970s which hampered all hopes of the film ever being produced.
From 1969 until 1976, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts: The Idle Class in 1971 (paired with The Kid for re-release in 1972), A Day's Pleasure in 1973, Pay Day in 1972, Sunnyside in 1974, and of his feature length films firstly The Circus in 1969 and The Kid in 1971. Chaplin worked with music associate Eric James whilst composing all his scores.
Chaplin's last completed work was the score for his 1923 film A Woman of Paris, which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.
Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland. On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family. The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under of concrete to prevent further attempts.
This is one reason why Chaplin took so much longer to complete his films than his rivals did. In addition, Chaplin was an incredibly exacting director, showing his actors exactly how he wanted them to perform and shooting scores of takes until he had the shot he wanted. Animator Chuck Jones, who lived near Charlie Chaplin's Lone Star studio as a boy, remembered his father saying he watched Chaplin shoot a scene more than a hundred times until he was satisfied with it. This combination of story improvisation and relentless perfectionism—which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense—often proved very taxing for Chaplin, who in frustration would often lash out at his actors and crew, keep them waiting idly for hours or, in extreme cases, shutting down production altogether.
The three had different styles: Chaplin had a strong affinity for sentimentality and pathos (which was popular in the 1920s), Lloyd was renowned for his everyman persona and 1920s optimism, and Keaton adhered to onscreen stoicism with a cynical tone more suited to modern audiences.
Commercially, Chaplin made some of the highest-grossing films in the silent era; The Gold Rush is the fifth with US$4.25 million and The Circus is the seventh with US$3.8 million. However, Chaplin's films combined made about US$10.5 million while Harold Lloyd's grossed US$15.7 million. Lloyd was far more prolific, releasing twelve feature films in the 1920s while Chaplin released just three. Buster Keaton's films were not nearly as commercially successful as Chaplin's or Lloyd's even at the height of his popularity, and only received belated critical acclaim in the late 1950s and 1960s.
There is evidence that Chaplin and Keaton, who both got their start in vaudeville, thought highly of one another: Keaton stated in his autobiography that Chaplin was the greatest comedian that ever lived, and the greatest comedy director, whereas Chaplin welcomed Keaton to United Artists in 1925, advised him against his disastrous move to MGM in 1928, and for his last American film, Limelight, wrote a part specifically for Keaton as his first on-screen comedy partner since 1915.
Chaplin declined to support the war effort as he had done for World War I which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, his 1947 black comedy, Monsieur Verdoux showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. His following European-made film, A King in New York (1957), satirised the political persecution and paranoia that had forced him to leave the U.S. five years earlier.
On religion, Chaplin wrote in his autobiography, “In Philadelphia, I inadvertently came upon an edition of Robert Ingersoll's Essays and Lectures. This was an exciting discovery; his atheism confirmed my own belief that the horrific cruelty of the Old Testament was degrading to the human spirit.”
For Chaplin's entire career, some level of controversy existed over claims of Jewish ancestry. Nazi propaganda in the 1930s and 40s prominently portrayed him as Jewish (named Karl Tonstein) relying on articles published in the U.S. press before, and FBI investigations of Chaplin in the late 1940s also focused on Chaplin's ethnic origins. There is no documentary evidence of Jewish ancestry for Chaplin himself. For his entire public life, he fiercely refused to challenge or refute claims that he was Jewish, saying that to do so would always "play directly into the hands of anti-Semites." Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.
Chaplin's lifelong attraction to younger women remains another enduring source of interest to some. His biographers have attributed this to a teenage infatuation with Hetty Kelly, whom he met in Britain while performing in the music hall, and which possibly defined his feminine ideal. Chaplin clearly relished the role of discovering and closely guiding young female stars; with the exception of Mildred Harris, all of his marriages and most of his major relationships began in this manner.
The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).
! Child | ! Birth | ! Death | ! Chaplin's Age at Time of Birth | ! Mother | ! Grandchildren |
Norman Spencer Chaplin | 7 July 1919 | 10 July 1919 | |
Mildred Harris | |
5 May 1925 | 20 March 1968 | |
Susan Maree Chaplin (b 1959) | ||
31 March 1926 | 3 March 2009 | |
Stephan Chaplin (b 19xx) | ||
Carol Ann Barry Chaplin (Disputed) | 2 October 1943 | |
Unknown | ||
31 July 1944 | |
Shane Saura Chaplin (b 1974) Oona Castilla Chaplin (b 1986) | |||
7 March 1946 | |
Kathleen Chaplin (b. 1975) Dolores Chaplin (b. 1979) Carmen Chaplin (b 19xx) George Chaplin (b 19xx) | |||
28 March 1949 | |
Julien Ronet (b. 1980) | |||
Victoria Chaplin | 19 May 1951 | |
Aurélia Thiérrée (b. 1971) James Thiérrée (b. 1974) | ||
23 August 1953 | |
Kiera Chaplin (b. 1982) | |||
Jane Cecil Chaplin | 23 May 1957 | |
|||
Annette Emily Chaplin | 3 December 1959 | |
Orson Salkind (b. 1986) Osceola Salkind (b. 1994) | ||
6 July 1962 | |
Chaplin was knighted in 1975 at the age of 85 as a Knight Commander of the British Empire (KBE) by Queen Elizabeth II. The honour had been first proposed in 1931. Knighthood was suggested again in 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin's purported "communist" views and his moral behaviour in marrying two 16 year girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.
Among other recognitions, Chaplin was given a star on the Hollywood Walk of Fame in 1970; that he had not been among those originally honoured in 1961 caused some controversy. Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.
A statue of Charlie Chaplin was made by John Doubleday, to stand in Leicester Square in London. It was unveiled by Sir Ralph Richardson in 1981. A bronze statue of him is at Waterville, County Kerry.
The 1st Academy Awards ceremony: When the first Oscars were awarded on 16 May 1929, the voting audit procedures that now exists had not yet been put into place, and the categories were still very fluid. Chaplin's The Circus was set to be heavily recognised, as Chaplin had originally been nominated for Best Production, Best Director in a Comedy Picture, Best Actor and Best Writing (Original Story). However, the Academy decided to withdraw his name from all the competitive categories and instead give him a Special Award "for versatility and genius in acting, writing, directing and producing The Circus". The only other film to receive a Special Award that year was The Jazz Singer.
A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp. Thanks to The Chaplin Keystone Project, efforts to produce definitive versions of Chaplin's pre-1918 short films have come to a successful end: after ten years of research and clinical international cooperation work, 34 Keystone films have been fully restored and published in October 2010 on a 4-DVD box set. All twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006.
Today, nearly all of Chaplin's output is owned by Roy Export S.A.S. in Paris, which enforces the library's copyrights and decides how and when this material can be released. French company MK2 acts as worldwide distribution agent for the Export company. In the U.S. as of 2010, distribution is handled under license by Janus Films, with home video releases from Criterion Collection, affiliated with Janus.
Category:1889 births Category:1977 deaths Category:19th-century English people Category:Academy Honorary Award recipients Category:Actors awarded British knighthoods Category:Actors from London Category:Articles containing video clips Category:Autobiographers Category:Best Original Music Score Academy Award winners Category:British expatriates in the United States Category:British Romani people Category:Cinema pioneers Category:English agnostics Category:English child actors Category:English comedians Category:English expatriates in Switzerland Category:English film actors Category:English film directors Category:English screenwriters Category:English silent film actors Category:English socialists Category:Erasmus Prize winners Category:Knights Commander of the Order of the British Empire Category:McCarthyism Category:Mimes Category:Music hall performers Category:Romani actors Category:Romani film directors Category:Short film directors Category:Silent film comedians Category:Slapstick comedians Category:Vaudeville performers Category:Children of Entertainers
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name | Jerry Lynch |
---|---|
position | Left fielder |
birth date | July 17, 1930 |
birth place | Munger, Michigan |
bats | Left |
throws | Right |
debutdate | April 15 |
debutyear | 1954 |
debutteam | Pittsburgh Pirates |
finaldate | October 2 |
finalyear | 1966 |
finalteam | Pittsburgh Pirates |
stat1label | Batting average |
stat1value | .277 |
stat2label | Home runs |
stat2value | 115 |
stat3label | Runs batted in |
stat3value | 470 |
stat4label | Hits |
stat4value | 798 |
teams | |
Highlights |
He helped the Reds win the 1961 National League Pennant. On September 26, 1961 Lynch propelled the Cincinnati Reds into the World Series with his two run home run off of Cubs pitcher Bob Anderson scoring Vada Pinson. He finished 22nd in voting for the 1961 NL MVP for playing in 96 games and having 181 At Bats, 33 Runs, 57 Hits, 13 Doubles, 2 Triples, 13 Home Runs, 50 RBI, 2 Stolen Bases, 27 Walks, .315 Batting Average, .407 On-base percentage, .624 Slugging Percentage, 113 Total Bases, 1 Sacrifice Hit and 6 Intentional Walks. He was hitless in three at bats and four plate appearances during the 1961 World Series.
Lynch is considered one of baseball best pinch hitters of all time. He smacked out 116 hits during his career, which ranks him 10th in the all time list. Lynch is third on the all time pinch hit home run list (he was first when he retired) with 18 with 5 of those coming during the 1961 season while driving in 25 runs.
Lynch was once quoted as saying, "The good pinch-hitter is the guy who can relax enough to get the pitch he can hit. You almost always do get one pitch to hit every time you bat. So you have to have the patience to wait. And then you've got to be able to handle the pitch when you get it."
In 13 seasons he played in 1,184 Games and had 2,879 At Bats, 364 Runs, 798 Hits, 123 Doubles, 34 Triples, 115 Home Runs, 470 RBI, 12 Stolen Bases, 224 Walks, .277 Batting Average, .329 On-base percentage, .463 Slugging Percentage, 1,334 Total Bases, 8 Sacrifice Hits, 25 Sacrifice Flies and 29 Intentional Walks.
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 | W. C. Fields |
---|---|
birth name | William Claude Dukenfield |
birth date | January 29, 1880 |
birth place | Darby, Pennsylvania, U.S. |
death date | December 25, 1946 |
death place | Pasadena, California, U.S. |
resting place | Forest Lawn Memorial Park, Glendale, California |
occupation | Actor, comedian, juggler, writer |
years active | 1902–1946 |
other names | Charles BogleOtis CriblecobbleMahatma Kane Jeeves"Uncle Claude" |
spouse | (his death) 1 child Bessie Poole (girlfriend) 1 child Carlotta Monti (girlfriend) |
children | William Claude Fields, Jr. William Morris (illegitimate)
}} |
William Claude Dukenfield (January 29, 1880 – December 25, 1946), better known as W. C. Fields, was an American comedian, actor, juggler and writer. Fields was known for his comic persona as a misanthropic and hard-drinking egotist who remained a sympathetic character despite his snarling contempt for dogs, children and women.
The characterization he portrayed in films and on radio was so strong it became generally identified with Fields himself. It was maintained by the movie-studio publicity departments at Fields's studios (Paramount and Universal) and further established by Robert Lewis Taylor's 1949 biography W.C. Fields, His Follies and Fortunes. Beginning in 1973, with the publication of Fields's letters, photos, and personal notes in grandson Ronald Fields's book W.C. Fields by Himself, it has been shown that Fields was married (and subsequently estranged from his wife), and he financially supported their son and loved his grandchildren.
However, Madge Evans, a friend and actress, told a visitor in 1972 that Fields so deeply resented intrusions on his privacy by curious tourists walking up the driveway to his Los Angeles home that he would hide in the shrubs by his house and fire BB pellets at the trespassers' legs. Several years later Groucho Marx told a similar story on his live performance album, An Evening with Groucho.
Claude Dukenfield (as he was known) worked at the Strawbridge and Clothier department store and in an oyster house, before he left home at age 18 (not 11, as many biographies have said). At age 15, he had begun performing a juggling act at church and theater shows, and entered vaudeville as a "tramp juggler" using the name W. C. Fields. He soon was traveling as 'The Eccentric Juggler', and included amusing asides and increasing amounts of comedy into his act, becoming a headliner in North America and Europe. In 1906 he made his Broadway debut in a musical comedy, The Ham Tree.
Fields embellished stories of his youth, but his home seems to have been a reasonably happy one. His family supported his ambitions for the stage, and saw him off on the train for his first stage tour. His father visited him for two months in England, when Fields was performing there in music halls.
Fields was known among his friends as "Bill". Edgar Bergen also called him Bill in the radio shows (while Charlie McCarthy called him many names). Fields played himself in Never Give a Sucker an Even Break, and his 'niece' called him "Uncle Bill". In one scene he introduced himself: "I'm W.C., uh, Bill Fields." When he was portrayed in films as having a son, he often named the character "Claude", after his own son. He was sometimes billed in England as "Wm. C. Fields", due to "W.C." being the British slang for a water closet. His public use of initials was a commonplace formality of the era in which he grew up. "W.C. Fields" also fit more easily onto a marquee than "W.C. Dukenfield".
At the time Fields was away from Hattie on tour in England. By 1907, however, he and Hattie had separated; she had been pressing him to stop touring and settle down to a respectable trade, while he was unwilling to give up his own livelihood. Until his death, Fields continued to correspond with Hattie and voluntarily sent child-support payments.
He had another son, born on August 15, 1917, with girlfriend Bessie Poole, named William Rexford Fields Morris. Bessie was an established Ziegfeld Follies performer and met Fields while performing in New York City at the famous Amsterdam Theater. Her beauty and quick wit attracted Fields, who was the featured act from 1916 until 1922. She was killed in a bar fight several years later, leaving their son to be raised in foster care, where he acquired the surname Morris by his foster-mother. Fields sent voluntary support to young Bill in care of his foster mother until he graduated from high school, when he sent $300 as a gift.
Fields lived with Carlotta Monti (1907–1993) after they met in 1932, and they began a relationship that lasted until his death in 1946. Monti had small roles in a couple of Fields' films, and in 1971 wrote a biography, Fields and Me", which was made into a motion picture at Universal Studios in 1976.
Fields expressed his feelings to Gloria Jean (playing his niece) in Never Give a Sucker an Even Break: "I was in love with a beautiful blonde once, dear. She drove me to drink. That's the one thing I am indebted to her for." Equally memorable was a line in the 1940 film My Little Chickadee: "Once, in the wilds of Afghanistan, I lost my corkscrew...and we were forced to live on nothing but food and water for days!" The oft-repeated anecdote that Fields once claimed he never drank water "because fish fornicate in it" is unsubstantiated.
On movie sets, Fields kept handy a vacuum flask of mixed martinis, which he referred to as his "pineapple juice". While filming Tales of Manhattan, a prankster switched the contents of the flask, filling it with actual pineapple juice. Upon discovering the prank, Fields was heard to yell, "Who put pineapple juice in my pineapple juice?!"
In 1936 Fields became gravely ill, his health worsened by his heavy drinking. Fields's film series came to a halt while he recovered; he made one last film for Paramount, The Big Broadcast of 1938. The comedian's troublesome behavior kept other producers away, and Fields was professionally idle until he made his debut on radio. By then Fields was very sick and suffering from delirium tremens.
He soon starred on Broadway in Florenz Ziegfeld's Ziegfeld Follies revues. There he delighted audiences with a wild pool skit, complete with bizarrely shaped cues and a custom-built table used for a number of hilarious gags and surprising trick shots. His pool game is reproduced, at least in part, in some of his films, notably in Six of a Kind (1934).
He starred in multiple editions of the Follies and in the Broadway musical comedy Poppy, where he perfected his persona as a colorful small-time confidence man.
He often contributed to the scripts of his films, under unusual pseudonyms such as the seemingly prosaic "Charles Bogle", which appeared on most of his films in the 1930s; "Otis Criblecoblis", which contains an embedded homophone for "scribble"; and "Mahatma Kane Jeeves", a play on mahatma and on a phrase an aristocrat might use when about to leave the house: "My hat, my cane, Jeeves". In features such as It's a Gift and Man on the Flying Trapeze, he is reported to have written or improvised more or less all of his own dialogue and material, leaving story structure to other writers.
In his films, he often played hustlers such as carnival barkers and card sharps, spinning yarns and distracting his marks. He had an affection for unlikely names and many of his characters bore them. Some examples are:
The carnival fraud was not the only character Fields played. He was also fond of casting himself as the victim: a hapless householder constantly under the thumb of his shrewish wife and/or mother-in-law. His 1934 classic It's a Gift included his stage sketch of trying to escape his nagging family by sleeping on the back porch, and being bedeviled by noisy neighbors and traveling salesmen. That film, along with films such as You're Telling Me! and Man on the Flying Trapeze, ended happily with a windfall profit that restored his standing in his screen families.
Although lacking formal education, he was well read and a lifelong admirer of author Charles Dickens, whose characters' unusual names inspired Fields to do likewise for his various characters. He achieved one of his career ambitions by playing the character Mr. Micawber, in MGM's David Copperfield in 1935. In 1936, Fields re-created his signature stage role in Poppy for Paramount Pictures.
Fields often fought with studio producers, directors, and writers over the content of his films. He was determined to make a movie his way, with his own script and staging and his own choice of supporting players. Universal finally gave him the chance, and the resulting film, Never Give a Sucker an Even Break, (1941) is a masterpiece of absurd humor in which Fields appeared as himself, "The Great Man". Universal's singing star Gloria Jean played opposite Fields, and his old cronies Leon Errol and Franklin Pangborn served as his comic foils. But the film Fields delivered was so surreal Universal recut and reshot parts of it and then quietly released both the film and Fields.
Sucker turned out to be his last starring film. By then he was much heavier and less mobile than he had been at the peak of his film career during 1934–1935, when he was reasonably fit and trim.
Fields completed a scene for the 20th Century Fox film Tales of Manhattan, (1942) in which he played an eccentric professor hired by Margaret Dumont to give a temperance lecture to a gathering of high society swells. This scene was cut from the film before release, supposedly due to running time. It was discovered in the vaults at Fox in the mid 1990s and was included in the video and DVD releases of the movie.
Fields would twit Charlie about his being made of wood: :Fields: "Tell me, Charles, is it true your father was a gate-leg table?" :McCarthy: "If it is, your father was under it!"
When Fields would refer to McCarthy as a "woodpecker's pin-up boy" or a "termite's flophouse," Charlie would fire back at Fields about his drinking: :McCarthy: "Is it true, Mr. Fields, that when you stood on the corner of Hollywood and Vine, 43 cars waited for your nose to change to green?"
:Bergen: "Why, Bill, I thought you didn't like children." :Fields: "Oh, not at all, Edgar, I love children. I can remember when, with my own little unsteady legs, I toddled from room to room." :McCarthy: "When was that, last night?"
Thanks to radio, Fields reached an even wider audience than before, and he was soon in demand for films again.
In the 1994 Biography TV show, his 1941 co-star Gloria Jean described how she would visit his house from time to time, and they would talk. Gloria Jean found Fields to be kind and gentle in real life, and believed that Fields yearned for the kind of family he lacked when he was a child. The show also reported that Fields eventually reconciled with his long estranged wife and son, and enjoyed playing with his grandchildren.
With a presidential election looming in 1940, Fields toyed with the idea of lampooning political campaign speeches. He wrote to vice-presidential candidate Henry A. Wallace, intending to glean comedy material from Wallace’s speeches, but when Wallace responded with a warm, personal fan letter to Fields, the comedian decided against skewering Wallace. Instead, Fields wrote a book entitled Fields for President, humorous essays in the form of a campaign speech. Dodd, Mead and Company published it in 1940 but declined to reprint it at the time. It did not sell well, mostly because people were confused as to whether it was meant to be taken seriously. Dodd, Mead and Company reprinted it in 1971 when Fields was seen as an anti-establishment figure. The 1940 edition includes illustrations by Otto Soglow; the 1971 reprint is illustrated with photographs of Fields.
Fields's film career slowed down considerably in the 1940s. His illnesses confined him to brief guest-star appearances in other people's films. An extended sequence in 20th Century Fox's Tales of Manhattan (1942) was cut from the original release of the film; it was later reinstated for some home video releases. He performed his famous billiard-table routine one more time on camera, for Follow the Boys, an all-star entertainment revue for the Armed Forces. (Despite the charitable nature of the movie, Fields was paid $15,000 for his appearance, and he was never able to perform in person for the armed services.) In Song Of The Open Road (1944) Fields juggled for a few moments, remarking, "This used to be my racket". His last film, the musical revue Sensations of 1945, was released in late 1944.
He also guested occasionally on radio as late as 1946, often with Edgar Bergen, and just before his death that same year he recorded a spoken-word album, delivering his comic "Temperance Lecture" and "The Day I Drank A Glass Of Water" at Les Paul's studio, in which Paul had just installed his new multi-track recorder. The session was arranged by Paul's old Army pal Bill Morrow, a friend he had in common with Fields. Fields's vision had deteriorated so much that he read his lines from large-print cue cards. It was W. C. Fields's last performance.
Fields spent his last weeks in a hospital, where a friend stopped by for a visit and caught Fields reading the Bible. When asked why, Fields replied, "I'm checking for loopholes." Fields died in 1946 (from an alcohol-related stomach hemorrhage) on the holiday he claimed to despise: Christmas Day. As documented in W.C. Fields and Me (the memoir of Carlotta Monti, published in 1971 and made into a 1976 film of the same name starring Rod Steiger), he died at Las Encinas Sanatorium, Pasadena, California, a bungalow-type sanitarium where, as he lay in bed dying, his longtime and final love, Carlotta Monti, went outside and turned the hose onto the roof, so as to allow Fields to hear for one last time his favorite sound—the sound of falling rain. According to the documentary W.C. Fields Straight Up, his death occurred in this way: he winked and smiled at a nurse, put a finger to his lips, and died. Fields was 66, and had been a patient for 22 months. His funeral took place on January 2, 1947, in Glendale, CA.
Fields was cremated and his ashes interred in the Forest Lawn Memorial Park Cemetery, in Glendale, California. There have been stories that he wanted his grave marker to read either "On the whole, I would rather be in Philadelphia", his home town, or "All in all, I would rather be in Philadelphia", both of which are similar to a line he used in My Little Chickadee: "I'd like to see Paris before I die...Philadelphia would do!" In the same film, he made a point of referencing "Philadelphia cream cheese"; whether he knew of the actual J. L. Kraft Foods product is unknown. Given his fondness for words, maybe he just liked the sound of his own home town's name. This rumor has also morphed into "I would rather be here than in Philadelphia". The anecdote that Fields often remarked, "Philadelphia, wonderful town, spent a week there one night" is unsubstantiated. It is also said that Fields wanted "I'd rather be in Philadelphia" on his gravestone because of the old vaudeville joke among comedians, "I would rather be dead than play Philadelphia". Whatever his actual wishes might have been, the interment marker for his ashes merely bears his stage name and the years of his birth and his death. The genesis of the line as originally phrased can be found in a 1925 article in Vanity Fair entitled "A Group of Artists Write Their Own Epitaphs." The mock-epitaph for Fields reads "Here Lies / W.C. Fields / I Would Rather Be Living in Philadelphia." (Lines 1 and 3 are in small caps in the original) [The article is reprinted in VANITY FAIR: Selections from America's Most Memorable Magazine, edited by Cleveland Amory and Frederic Bradlee, pages 102–103. Viking Press, 1960]
Fields also figured in an Orson Welles project. Welles's bosses at RKO Radio Pictures, after losing money on Citizen Kane, urged Welles to choose as his next film a subject with more commercial appeal. Welles considered an adaptation of Charles Dickens's The Pickwick Papers which would have starred Fields and John Barrymore, but Fields's schedule would not permit it. The project was permanently shelved, and Welles went on to adapt The Magnificent Ambersons.
During the early planning for his film It's a Wonderful Life, director Frank Capra considered Fields for the role of Uncle Billy, which eventually went to Thomas Mitchell.
A W.C. Fields commemorative stamp was issued by the United States Postal Service on the occasion of the comedian's 100th birthday in January 1980.
Information for this filmography is derived from the book, W. C. Fields: A Life on Film, by Ronald J. Fields. All films are feature length except where noted.
! Release date | ! Title | ! Role | ! Director | ! Notes |
1915 | (untitled film) | Himself | Ed Wynn | Short film presented as part of the Ziegfeld Follies of 1915; lost film |
Pool Sharks | The pool shark | Edwin Middleton | One reel; story by W.C. Fields; extant | |
1915 October 3 | His Lordship's Dilemma | Remittance man | William Haddock | One reel; extant? (print with French title cards found in 2006) - claim requires additional verification for corroboration - only source now deceased and HIGHLY SUSPECT |
1924 October 27 | Janice Meredith | A British sergeant | E. Mason Hopper | extant |
1925 August 2 | Sally of the Sawdust | Professor Eustace P. McGargle | D. W. Griffith | extant |
1925 December 7 | That Royle Girl | Daisy Royle's father | D. W. Griffith | lost film |
1926 May 24 | It's the Old Army Game | Elmer Prettywillie | A. Edward Sutherland | Story by J.P. McEvoy and W.C. Fields; extant |
1926 October 26 | So's Your Old Man | Samuel Bisbee | Gregory La Cava | extant |
1927 January 31 | The Potters | Pa Potter | Fred C. Newmeyer | lost film |
1927 August 20 | Running Wild | Elmer Finch | Gregory La Cava | extant |
1927 December 17 | Two Flaming Youths | J. G. "Gabby" Gilfoil | John S. Waters | lost film |
1928 March 3 | The Ringmaster | A. Edward Sutherland | extant? - claim requires additional corroboration for verification - only known source of info. now deceased and HIGHLY SUSPECT | |
1928 May 7 | Fools for Luck | Richard Whitehead | Charles F. Reisner | extant? - only known source now deceased suggests that he viewed film - HIGHLY SUSPECT |
1930 August 22 | The Golf Specialist | J. Effingham Bellwether | Monte Brice | Two reels; story by W.C. Fields (uncredited) |
1931 December 26 | Her Majesty, Love | Bela Toerrek | William Dieterle | |
1932 July 8 | President of Klopstokia | Edward Cline | ||
1932 December 2 | If I Had a Million | Rollo La Rue | Norman Taurog | |
1932 December 9 | Himself | Leslie Pearce | Two reels; story by W.C. Fields (uncredited) | |
1933 March 3 | Mr. Snavely | Clyde Bruckman | Two reels; story by W.C. Fields (uncredited) | |
1933 April 21 | The Pharmacist | Mr. Dilweg | Arthur Ripley | Two reels; story by W.C. Fields (uncredited) |
1933 June 2 | Professor Quail | A. Edward Sutherland | ||
1933 June 24 | Hip Action | Himself | One reel | |
1933 July 28 | The Barber Shop | Cornielius O'Hare | Arthur Ripley | Two reels; story by W.C. Fields (uncredited) |
1933 September 8 | Himself | Louis Lewyn | One reel | |
1933 October 13 | Tillie and Gus | Augustus Q. Winterbottom | Francis Martin | Fields as contributing writer (uncredited) |
1933 December 22 | Humpty Dumpty | |||
1934 February 9 | Six of a Kind | Sheriff "Honest John" Hoxley | Leo McCarey | |
1934 April 6 | You're Telling Me! | Sam Bisbee | Erle C. Kenton | Fields as contributing writer (uncredited) |
1934 April 27 | Himself | Louis Lewyn | One reel | |
1934 July 13 | The Great (Marc Antony) McGonigle | William Beaudine | Story by "Charles Bogle" (W.C. Fields) | |
1934 October 19 | Mrs. Wiggs of the Cabbage Patch | Mr. C. Ellsworth Stubbins | Norman Taurog | |
1934 November 30 | It's a Gift | Harold Bissonette | Original story by "Charles Bogle" (W.C. Fields) | |
1935 March 22 | Commodore Orlando Jackson | A. Edward Sutherland | ||
1935 July 26 | Man on the Flying Trapeze | Ambrose Wolfinger | Clyde Bruckman | Story by "Charles Bogle" (W.C. Fields) |
1935 December 13 | Wilkins Micawber | George Cukor | ||
1936 June 19 | Professor Eustace P. McGargle | A. Edward Sutherland | ||
1938 February 18 | The Big Broadcast of 1938 | T. Frothingill BellowsS. B. Bellows | Mitchell Leisen | |
1939 February 17 | You Can't Cheat an Honest Man | Larson E. Whipsnade | Story by "Charles Bogle" (W.C. Fields) | |
1940 February 9 | My Little Chickadee | Cuthbert J. Twillie | Edward Cline | Bar scene written by W.C. Fields |
1940 November 29 | The Bank Dick | Egbert Sousè | Edward Cline | Story by "Mahatma Kane Jeeves" (W.C. Fields) |
1941 October 10 | Never Give a Sucker an Even Break | The Great Man | Edward Cline | Original story by "Otis Criblecoblis" (W.C. Fields) |
unreleased | The Laziest Golfer | Himself | (unknown) | Footage shot but never assembled |
1942 October 30 | Tales of Manhattan | Himself | Julien Duvivier | Sequence with Fields cut from original release, restored for home video (VHS) |
1944 May 5 | Follow the Boys | Himself | A. Edward Sutherland | |
1944 June 21 | Song of the Open Road | Himself | S. Sylvan Simon | |
1944 June 30 | Sensations of 1945 | Himself | Andrew L. Stone |
Category:1880 births Category:1946 deaths Category:People from Darby, Pennsylvania Category:Actors from Pennsylvania Category:Alcohol-related deaths in California Category:American atheists Category:American comedians Category:American film actors Category:American silent film actors Category:American people of English descent Category:American people of German descent Category:American people of Irish descent Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Jugglers Category:People self-identifying as alcoholics Category:Trick shot artists Category:Vaudeville performers
ca:W.C. Fields da:W.C. Fields de:W. C. Fields es:W. C. Fields eo:W. C. Fields fr:W. C. Fields fy:W.C. Fields gl:W.C. Fields it:W. C. Fields he:וו. סי. פילדס nl:W.C. Fields no:W. C. Fields pt:W. C. Fields ru:Филдс, Уильям Клод simple:WC Fields sh:W. C. Fields fi:W. C. Fields sv:W.C. FieldsThis 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.
+Micho Russell performs on the following recordings | ||||||||||
!Year | !Artist | !Title | !Label | !Notes | ||||||
1975 | Micho, Pakie and Gusie Russell | The Russell Family of Doolin, Co. Clare | Topic Records | Recorded in O'Connor's Bar, Doolin January 1974. | ||||||
1976 | Micho Russell | Traditional Country Music of Co. Clare | Free Reed | Reissued on CD by Free Reed in 2008 | ||||||
1990 | Micho Russell | Under the Cliffs of Moher | Xeric | |||||||
1993 | Micho Russell | The Limestone Rock | "The Man from Clare" features duets with Eugene Lambe on Flute and Tin Whistle | 1995 | 'The Wind that shakes the Barley" Features Music, Song and Folklore | "In Our Own Dear Land" A similar mix of Music,Song and stories. | Recorded by GTD Heritage Recording Co. Ltd. | All four titles are now Distributed by Trad Ireland www.tradireland.ie |
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John Williams (Green Linnet Records 1157) 7.1994 | - | 1995 | Micho Russell | Ireland’s Whistling Ambassador | The Pennywhistler’s Press | Includes a 28 page booklet with a biography and notes on his music. There is also a video release with different music. |
+Micho Russell wrote the following books | ||
!Year | !Title | !Publisher |
1980 | The Piper's Chair | Ossian Publications |
1986 | The Piper's Chair No. 2 | Canal Press, N.Y. |
1988 | The road to Aran: Songs, Folklore and Music of West of Ireland | Micho Russell, Doolin. |
1990 | Doolin's Micho Russell | N.Y. |
1991. | Micho's Dozen | Ennistymon Festival of Traditional Singing, Co. Clare. |
1992 | Music & Folklore of Doonagore | Micho Russell, Doolin. |
Category:Irish flautists Category:Irish tin whistle players Category:People from County Clare Category:1915 births Category:1994 deaths
nl:Micho RussellThis 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.
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