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.
background | non_vocal_instrumentalist |
---|---|
birth name | Lester William Polsfuss |
born | June 09, 1915Waukesha, Wisconsin, United States |
died | August 12, 2009White Plains, New York, United States |
genre | Jazz, country, blues, rock and roll |
occupation | Innovator, Inventor, Musician, Songwriter |
instrument | Guitar, Banjo, Harmonica |
years active | 1928–2009 |
website | lespaulonline.com |
notable instruments | Gibson Les Paul }} |
His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.
Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame. He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.
While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design. By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar. At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.
Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone. One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.
Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with ''Fred Waring's Pennsylvanians'' radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.
Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model.
While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole. His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.
Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s.
In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.
The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money. Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.
The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.
On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."
In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.
Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)
Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.
Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.
Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record as many tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.
Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking, where the microphone is less than from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.
The show also appeared on television a few years later with the same format, but excluding the trio and retitled ''The Les Paul & Mary Ford Show'' (also known as ''Les Paul & Mary Ford at Home'') with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards up until his death.
During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.
By the late 1980s, Paul had returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album ''Les Paul & Friends: American Made World Played''. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.
Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sledge with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.
For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Steve and Johnnie continue to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.
Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten."
On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it. Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.
In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame. Paul received a Grammy Trustees Award for his lifetime achievements in 1983.
In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology". In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society. In 2007, he was awarded the National Medal of Arts.
A one-hour biographical documentary film ''The Wizard of Waukesha'' was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled ''Chasing Sound: Les Paul at 90'' made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE ''The Story of the Guitar''.
In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee. The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE). Paul played a concert in Milwaukee to coincide with the opening of the exhibit.
Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."
In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.
On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.
In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.
In August, 2009, Paul was named one of the ten best electric guitar players of all-time by ''Time'' magazine.
On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.
On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.
Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson. Miller's father was best man at Paul's 1949 wedding to Mary Ford.
Paul resided for many years in Mahwah, New Jersey.
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105 |
Category:American jazz guitarists Category:American musical instrument makers Category:American radio personalities Category:Capitol Records artists Category:Columbia Records artists Category:Deaths from pneumonia Category:Decca Records artists Category:American musicians of German descent Category:Grammy Award winners Category:Guitar makers Category:Infectious disease deaths in New York Category:Inventors of musical instruments Category:Lead guitarists Category:Musicians from New Jersey Category:Musicians from Wisconsin Category:National Inventors Hall of Fame inductees Category:People from Mahwah, New Jersey Category:People from Waukesha, Wisconsin Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees Category:United States National Medal of Arts recipients Category:1915 births Category:2009 deaths Category:American rock guitarists Category:American inventors Category:American blues guitarists
ar:لس بول zh-min-nan:Les Paul bg:Лес Пол ca:Les Paul cs:Les Paul cy:Les Paul da:Les Paul (musiker) de:Les Paul et:Les Paul es:Les Paul eo:Les Paul fa:لس پال fr:Les Paul ga:Les Paul gl:Les Paul hr:Les Paul io:Les Paul id:Les Paul is:Les Paul it:Les Paul he:לס פול la:Les Paul lv:Less Pols lb:Les Paul hu:Les Paul ml:ലെസ് പോൾ nl:Les Paul ja:レス・ポール no:Les Paul nn:Les Paul uz:Les Paul pl:Les Paul pt:Les Paul ro:Les Paul ru:Лес Пол simple:Les Paul sk:Les Paul szl:Les Paul fi:Les Paul sv:Les Paul th:เลส พอล tr:Les Paul uk:Лес Пол vi:Les Paul zh-yue:Les Paul zh:萊斯·保羅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.
One of the most remarkable female opera singers of the 20th century, she was dubbed ''La Stupenda'' by a La Fenice audience in 1960 after a performance of the title role in Handel's ''Alcina''. She possessed a voice of beauty and power, combining extraordinary agility, accurate intonation, "supremely" pinpoint staccatos, a splendid trill and a tremendous upper register, although music critics often complained about the imprecision of her diction. Her friend Luciano Pavarotti once called Sutherland the "Voice of the Century"; Montserrat Caballé described the Australian's voice as being like "heaven".
Being an admirer of Kirsten Flagstad in her early career, she trained to be a Wagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in ''Un ballo in maschera''. Other roles included Agathe in ''Der Freischütz'', the Countess in ''The Marriage of Figaro'', Desdemona in ''Otello'', Gilda in ''Rigoletto'', Eva in ''Die Meistersinger von Nürnberg'', and Pamina in ''The Magic Flute''. In 1953, she sang the role of Lady Rich in Benjamin Britten's ''Gloriana'' a few months after its world premiere, and created the role of Jennifer in Michael Tippett's ''The Midsummer Marriage'', on 27 January 1955.
Sutherland married Australian conductor and pianist Richard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her ''Fach'', and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this ''Fach'', spending most of her career singing dramatic coloratura soprano.
In 1957, she appeared in Handel's ''Alcina'' with the Handel Opera Society, and in Donizetti's ''Emilia di Liverpool'', in which performances her bel canto potential was clearly demonstrated, vindicating her husband's judgement. The following year she sang Donna Anna in ''Don Giovanni'' in Vancouver.
In 1958, at the Royal Opera House, after singing, "Let the Bright Seraphim", from Handel's oratorio, ''Samson'', she received a ten minute-long standing ovation.
By the beginning of the 1960s, Sutherland had already established a reputation as a diva with a voice out of the ordinary. She sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. In 1960, she sang a superb Alcina at La Fenice, Venice, where she was nicknamed ''La Stupenda'' ("The Stunning One"). Sutherland would soon be praised as ''La Stupenda'' in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.
Her Metropolitan Opera debut took place on 26 November 1961, when she sang ''Lucia''. After a total of 223 performances in a number of different operas, her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met severely deteriorated when Sutherland had to decline the role of Constanze in Mozart's ''Die Entführung aus dem Serail'', more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta ''The Merry Widow'' especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's ''Semiramide'' had also been planned, but later she returned there to sing in other operas.
During the 1960s, Sutherland had added the greatest heroines of bel canto ("beautiful singing") to her repertoire: Violetta in Verdi's ''La traviata'', Amina in Bellini's ''La sonnambula'' and Elvira in Bellini's ''I puritani'' in 1960; the title role in Bellini's ''Beatrice di Tenda'' in 1961; Marguerite de Valois in Meyerbeer's ''Les Huguenots'' and the title role in Rossini's ''Semiramide'' in 1962; Norma in Bellini's ''Norma'' and Cleopatra in Handel's ''Giulio Cesare'' in 1963. In 1966 she added Marie in Donizetti's ''La fille du régiment'', which became one of her most popular roles, because of her perfect coloratura and lively, funny interpretation.
In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti, and the tour proved to be a major milestone in Pavarotti's career. Every performance featuring Sutherland sold out.
During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's ''Maria Stuarda'' and ''Lucrezia Borgia'', as well as Massenet's extremely difficult ''Esclarmonde'', a role that few sopranos attempt. With Pavarotti she made a very successful studio-recording of ''Turandot'' in 1972 under the baton of Zubin Mehta, though she never performed the role on stage.
Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough ''Lucia'' at Covent Garden. In fact, her first commercial recording of the first and final scene of ''Lucia'' reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing. She clearly took the criticism to heart, as, within a few years, her diction improved markedly and she continued to amaze and thrill audiences throughout the world.
In the late 1970s, Sutherland's voice started to decline and her vibrato loosened to an intrusive extent. However, thanks to her vocal agility and solid technique, she continued singing the most difficult roles amazingly well. During the 1980s, she added ''Anna Bolena'', Amalia in ''I masnadieri'' and ''Adriana Lecouvreur'' to her repertoire, and repeated ''Esclarmonde'' at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (''Les Huguenots'') at the Sydney Opera House in 1990, at the age of 63, where she sang ''Home Sweet Home'' for her encore. Her last public appearance, however, took place in a gala performance of ''Die Fledermaus'' on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne.
According to her own words, given in an interview with ''The Guardian'' newspaper in 2002, her biggest achievement was to sing the title role in ''Esclarmonde''. She considered those performances and recordings her best.
Sutherland had a leading role as Mother Rudd in the 1995 comedy film ''Dad and Dave: On Our Selection'' opposite Leo McKern and Geoffrey Rush.
In 1997 she published an autobiography, ''The Autobiography of Joan Sutherland: A Prima Donna's Progress''. It received generally scathing reviews for its literary merits, but it does contain a complete list of all her performances, with full cast lists.
Her official biography, ''Joan Sutherland: The Authorised Biography", published in February 1994, was written by Norma Major, wife of the then prime minister John Major.
In 2002 she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to ''The Guardian'' in which she lamented the lack of technique in young opera singers and the dearth of good teachers. By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions." The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.
On 3 July 2008, she fell and broke both of her legs while gardening at her home in Switzerland. She completely recovered and attended a 2009 luncheon hosted by Queen Elizabeth at Buckingham Palace in honour of members of the Order of Merit.
Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."
In 1971, ''Time'' writes an article comparing Sutherland and Beverly Sills,
"Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills."
Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the “blue” sopranos – which has nothing to do with “blues” in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Regine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.
In a 1961 profile in ''The New York Times Magazine'', Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realize this until she heard "Wagner sung as it should be."
Regarding the size of Sutherland's voice, ''Opera Britannia'' praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone." In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in the ''The New Yorker''. French soprano Natalie Dessay states, "She had a ''huge'', ''huge'' voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a ''big, huge'' voice, which is very rare."
Sutherland's vocal range extended from G below the staff (G3) to high F (F6), or high F-sharp (F6), although she never sang this last note in a public performance.
In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975). She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.
On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM). In January 2004 she received the Australia Post ''Australian Legends Award'' which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.
Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.
John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.
Category:1926 births Category:2010 deaths Category:Alumni of the Royal College of Music Category:ARIA Hall of Fame inductees Category:ARIA Award winners Category:Australian dames Category:Australian expatriates in Switzerland Category:Australian female singers Category:Australian monarchists Category:Australian people of Scottish descent Category:Australian of the Year Award winners Category:Australian opera singers Category:Australian sopranos Category:Companions of the Order of Australia Category:Dames Commander of the Order of the British Empire Category:Disease-related deaths in Switzerland Category:Grammy Award winners Category:Honorary Members of the Royal Academy of Music Category:Kennedy Center honorees Category:Members of the Order of Merit Category:Operatic sopranos Category:People from Sydney Category:Royal Philharmonic Society Gold Medallists
als:Joan Sutherland bg:Джоан Съдърланд ca:Joan Sutherland cy:Joan Sutherland da:Joan Sutherland de:Joan Sutherland et:Joan Sutherland el:Τζόαν Σάδερλαντ es:Joan Sutherland fr:Joan Sutherland ko:조안 서덜랜드 hy:Ջոան Սազերլենդ it:Joan Sutherland he:ג'ואן סאתרלנד la:Ioanna Sutherland lb:Joan Sutherland hu:Joan Sutherland ms:Joan Sutherland nl:Joan Sutherland ja:ジョーン・サザーランド no:Joan Sutherland pl:Joan Sutherland pt:Joan Sutherland ro:Joan Sutherland ru:Сазерленд, Джоан simple:Joan Sutherland sr:Џоун Садерланд fi:Joan Sutherland sv:Joan Sutherland tl:Joan Sutherland uk:Джоан Сазерленд vi:Joan Sutherland zh:瓊·蘇瑟蘭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 | Blake Edwards |
---|---|
birth date | July 26, 1922 |
birth name | William Blake Crump |
birth place | Tulsa, Oklahoma, United States |
death date | December 15, 2010 (age 88) |
death place | Santa Monica, California |
death cause | Pneumonia |
occupation | Film director, screen and scriptwriter, producer, actor |
nationality | American |
party | Democratic |
years active | 1942–95 |
spouse | Patricia Walker, 1953-67 (divorced)Julie Andrews, 1969-2010 |
children | 3 daughters, 1 son |
residence | }} |
Edwards' career began in the 1940s as an actor, but he soon turned to writing radio scripts at Columbia Pictures. He used his writing skills to begin producing and directing, with some of his best films including: ''Experiment in Terror'', ''The Great Race'', and the hugely successful Pink Panther film series with the British comedian Peter Sellers. Often thought of as primarily a director of comedies, he was also renowned for his dramatic work, ''Breakfast at Tiffany's'' and ''Days of Wine and Roses''. His greatest successes, however, were his comedies, and most of his films were either musicals, melodramas, slapstick comedies, or thrillers.
In 2004, he received an Honorary Academy Award in recognition of his writing, directing and producing an extraordinary body of work for the screen.
I worked with the best directors—Ford, Wyler, Preminger—and learned a lot from them. But I wasn't a very cooperative actor. I was a spunky, smart-assed kid. Maybe even then I was indicating that I wanted to give, not take, direction.
His service in the United States Coast Guard led to a severe back injury, which left Edwards in pain for years afterward.
In the 1954-1955 television season, Edwards joined with Richard Quine to create Mickey Rooney's first television series, ''The Mickey Rooney Show: Hey, Mulligan'', a sitcom about a young studio page trying to become a serious actor. Edwards' hard-boiled private detective scripts for ''Richard Diamond, Private Detective'' became NBC's answer to Sam Spade and Philip Marlowe, reflecting Edwards's unique humor. Edwards also created, wrote and directed the 1959 TV series ''Peter Gunn'', with music by Henry Mancini. In the same year Edwards produced, with Mancini's musical theme, ''Mr. Lucky'', an adventure series on CBS starring John Vivyan and Ross Martin. Mancini's association with Edwards continued in his film work, significantly contributing to their success.
;''Operation Petticoat'' (1959) ''Operation Petticoat'' was Edwards' first big-budget movie as a director. The film, which starred Tony Curtis and Cary Grant, became the "greatest box-office success of the decade for Universal [Studios]," and made Edwards a recognized director.
;''Breakfast at Tiffany's'' (1961) ''Breakfast at Tiffany's'', based on the novel by Truman Capote, is credited with establishing him as a "cult figure" with many critics. Andrew Sarris called it the "directorial surprise of 1961," and it became a "romantic touchstone" for college students in the early 1960s.
;''Days of Wine and Roses'' (1962) ''Days of Wine and Roses'', a dark psychological film about the effects of alcoholism on a previously happy marriage, starred Jack Lemmon and Lee Remick. It has been described as "perhaps the most unsparing tract against drink that Hollywood has yet produced, more pessimistic than Billy Wilder's ''The Lost Weekend''." The film gave another major boost to Edwards' reputation as an important director.
Edwards' most popular films were comedies, the melodrama ''Days of Wine and Roses'' being a notable exception. His most dynamic and successful collaboration was with Peter Sellers in six of the movies in the Pink Panther series. Five of the those involved Edwards and Sellers in original material, while ''Trail of the Pink Panther'', made after Sellers died in 1980, was made up of unused material from ''The Pink Panther Strikes Again''. He also worked with Sellers on the film ''The Party''. Edwards later directed the comedy film ''10'' with Dudley Moore and Bo Derek.
;''Darling Lili'' (1969) ''Darling Lili'', starring Julie Andrews, is considered by many followers of Edwards' film as "the director's masterpiece." According to critic George Morris, "it synthesizes every major Edwards theme: the disappearance of gallantry and honor, the tension between appearances and reality . . . and the emotional, spiritual, moral, and psychological disorder" in such a world. Edwards used difficult cinematography techniques, including long-shot zooms, tracking, and focus distortion, to great effect.
However, the film failed badly at the box office. At a cost of $17 million to make, few people went to see it, and the few who did weren't impressed. It brought Paramount Pictures to "the verge of financial collapse," and became an example of "self-indulgent extravagance" in filmmaking "that was ruining Hollywood."
In 2004, Edwards received an Honorary Academy Award for cumulative achievements over the course of his film career.
"We clicked on comedy, and we were lucky we found each other, because we both had so much respect for it. We also had an ability to come up with funny things and great situations that had to be explored. But in that exploration there would oftentimes be disagreement . . . But I couldn't resist those moments when we jelled. And if you ask me who contributed most to those things, it couldn't have happened unless both of us were involved, even though it wasn't always happy."
The films were all highly profitable. ''The Return of the Pink Panther'' (1975), for example, cost just $2.5 million to make, but grossed $100 million, while ''The Pink Panther Strikes Again'' (1976), did even better.
;Silent film style Having grown up in Hollywood, the son of a studio production manager and grandson of a silent film director, Edwards had watched the films of the great silent clowns, including Charlie Chaplin, Buster Keaton, Harold Lloyd, and Laurel and Hardy. Both he and Sellers appreciated and understood the comedy styles in silent films and tried to recreate it in their work together. After their immense success with the first two Pink Panther films, ''The Pink Panther'' (1963) and ''A Shot in the Dark'' (1964), which adapted many silent film aspects, including slapstick, they attempted to go even further in ''The Party'' (1968). Although the film is relatively unknown, some have considered it a "masterpiece in this vein" of silent comedy, even though it included minimal dialogue.
Edwards described his struggle with the illness chronic fatigue syndrome for 15 years in the documentary ''I Remember Me''.
Edwards and Andrews had five children. The two eldest, Jennifer and Geoffrey, are from his previous marriage; middle child Emma is from Andrews' first marriage; and the youngest children are two adopted orphans from Vietnam, Amelia Leigh and Joanna Lynne. Edwards and Andrews adopted them in the early 1970s. All of the children, except Joanna, have appeared in his movies.
It has been difficult for many critics to accept Blake Edwards as anything more than a popular entertainer. . . . Edwards' detractors acknowledge his formal skill but deplore the absence of profundity in his movies. . . Edwards' movies ''are'' slick and glossy, but their shiny surfaces reflect all too accurately the disposable values of contemporary life.
But others recognized him more for his significant achievements at different periods of his career. British film critic Peter Llyod, for example, described Edwards, in 1971, as "the finest director working in the American commercial cinema at the present time." Edwards' biographers, William Luhr and Peter Lehman, in an interview in 1974, called him "the finest American director working at this time." They refer especially to the ''Pink Panther'''s Clouseau, developed with the comedic skills of Peter Sellers, as a character "perfectly consistent" with his "absurdist view of the world, . . . because he has no faith in anything and constantly adapts." Critic Stuart Byron calls his early ''Pink Panther'' films "two of the best comedies an American has ever made." Polls taken at the time showed that his name, as a director, was a rare "marketable commodity" in Hollywood.
Edwards himself described one of the secrets to success in the film industry:
For someone who wants to practice his art in this business, all you can hope to do, as ''S.O.B.'' says, is stick to your guns, make the compromises you must, and hope that somewhere along the way you acquire a few good friends who understand. And keep half a conscience."
Category:1922 births Category:2010 deaths Category:20th-century actors Category:20th-century writers Category:21st-century writers Category:Academy Honorary Award recipients Category:Actors from Oklahoma Category:American comedy writers Category:American film actors Category:American film directors Category:American film producers Category:American screenwriters Category:American television writers Category:César Award winners Category:Deaths from pneumonia Category:Edgar Award winners Category:Infectious disease deaths in California Category:People from Tulsa, Oklahoma Category:People with chronic fatigue syndrome Category:Writers Guild of America Award winners
an:Blake Edwards ca:Blake Edwards cs:Blake Edwards cy:Blake Edwards da:Blake Edwards de:Blake Edwards et:Blake Edwards es:Blake Edwards fa:بلیک ادواردز fr:Blake Edwards hr:Blake Edwards id:Blake Edwards it:Blake Edwards he:בלייק אדוארדס la:Blake Edwards lb:Blake Edwards nl:Blake Edwards ja:ブレイク・エドワーズ pl:Blake Edwards pt:Blake Edwards ro:Blake Edwards ru:Эдвардс, Блэйк sk:Blake Edwards sr:Блејк Едвардс sh:Blake Edwards fi:Blake Edwards sv:Blake Edwards tr:Blake Edwards uk:Блейк Едвардс zh:布萊克·愛德華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 | Cary Grant |
---|---|
birth name | Archibald Alexander Leach |
birth date | January 18, 1904 |
birth place | Bristol, England, United Kingdom |
death date | November 29, 1986 |
death place | Davenport, Iowa, United States |
other names | Archie Leach |
occupation | Actor |
years active | 1932–66 |
spouse | Virginia Cherrill (1934–1935)Barbara Hutton (1942–1945)Betsy Drake (1949–1962)Dyan Cannon (1965–1967)Barbara Harris (1981–1986) |
partner | Maureen Donaldson (1973–1977) |
children | Jennifer Grant, born on February 26, 1966 |
relations | Cary Benjamin Grant, born on August 12, 2008 |
Awards | Academy Honorary Award1970 For his unique mastery of the art of screen acting with the respect and affection of his colleagues. }} |
He was named the second Greatest Male Star of All Time by the American Film Institute. Noted for his dramatic roles as well as screwball comedy, Grant's best-known films include ''Bringing Up Baby'' (1938), ''Gunga Din'' (1939), ''The Philadelphia Story'' (1940), ''Penny Serenade'' (1941), ''Arsenic and Old Lace'' (1944), ''None but the Lonely Heart'' (1944), ''Notorious'' (1946), ''To Catch A Thief'' (1955), ''An Affair to Remember'' (1957), and ''North by Northwest'' (1959).
Nominated twice for the Academy Award for Best Actor and five times for a Golden Globe Award for Best Actor, Grant was continually passed over, and in 1970 was given an Honorary Oscar at the 42nd Academy Awards. Frank Sinatra presented Grant with the award, "for his unique mastery of the art of screen acting with the respect and affection of his colleagues".
He was expelled from the Fairfield Grammar School in Bristol in 1918. After joining the "Bob Pender stage troupe", Leach performed as a stilt walker and travelled with the group to the United States in 1920 at the age of 16, on a two-year tour of the country. He was processed at Ellis Island on July 28, 1920. When the troupe returned to the UK, he decided to stay in the U.S. and continue his stage career. During this time, he became a part of the vaudeville world and toured with Parker, Rand and Leach. Still using his birth name, he performed on the stage at The Muny in St. Louis, Missouri, in such shows as ''Irene'' (1931); ''Music in May'' (1931); ''Nina Rosa'' (1931); ''Rio Rita'' (1931); ''Street Singer'' (1931); ''The Three Musketeers'' (1931); and ''Wonderful Night'' (1931). Leach's experience on stage as a stilt walker, acrobat, juggler, and mime taught him "phenomenal physical grace and exquisite comic timing" and the value of teamwork, skills which would benefit him in Hollywood.
Under the tutelage of director Leo McCarey, his role in ''The Awful Truth'' (1937) with Irene Dunne was the pivotal film in the establishment of Grant's screen persona; as he later wrote, "I pretended to be somebody I wanted to be and I finally became that person. Or he became me. Or we met at some point." Grant's sophisticated light comedy persona first evident in ''The Awful Truth'' was largely concocted by McCarey, with Grant also copying many of McCarey's mannerisms. Along with the similarity in their names, McCarey and Cary Grant shared a close physical resemblance, making mimicking McCarey's intonations and expressions even easier for Grant. As writer/director Peter Bogdanovich notes, "After ''The Awful Truth'', when it came to light comedy, there was Cary Grant and then everyone else was an also-ran."
''The Awful Truth'' began "what would be the most spectacular run ever for an actor in American pictures"; during the next four years, Grant made the screwball comedy ''Bringing Up Baby'' and the romantic comedy ''Holiday'' (1938) with Katharine Hepburn; the adventures ''Gunga Din'' and ''Only Angels Have Wings'' (1939); ''His Girl Friday'' (1940) with Rosalind Russell; ''The Philadelphia Story'' (1940), with Hepburn and James Stewart; ''My Favorite Wife'' (1940) and ''Penny Serenade'' (1941) with Irene Dunne; and ''Suspicion'' (1941), the first of four with Alfred Hitchcock.
Grant remained one of Hollywood's top box-office attractions for almost 30 years. Howard Hawks said that Grant was "so far the best that there isn't anybody to be compared to him". David Thomson called him "the best and most important actor in the history of the cinema".
Grant was a favorite of Hitchcock, who called him "the only actor I ever loved in my whole life". Besides ''Suspicion'', Grant appeared in the Hitchcock classics ''Notorious'' (1946), ''To Catch a Thief'' (1955) and ''North by Northwest'' (1959). Biographer Patrick McGilligan wrote that, in 1965, Hitchcock asked Grant to star in ''Torn Curtain'' (1966), only to learn that Grant had decided to retire after making one more film, ''Walk, Don't Run'' (1966); Paul Newman was cast instead, opposite Julie Andrews.
In the mid-1950s, Grant formed his own production company, Granart Productions, and produced a number of movies distributed by Universal, such as ''Operation Petticoat'' (1959), ''Indiscreet'' (1958), ''That Touch of Mink'' (co-starring with Doris Day, 1962), and ''Father Goose'' (1964). In 1963, he appeared opposite Audrey Hepburn in ''Charade'' (1963). His last feature film was ''Walk, Don't Run'' with Samantha Eggar and Jim Hutton.
Grant was the first actor to "go independent" by not renewing his studio contract, effectively leaving the studio system, which almost completely controlled what an actor could or could not do. In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term. He decided which movies he was going to appear in, he often had personal choice of the directors and his co-stars and at times even negotiated a share of the gross, something uncommon at the time.
Grant was nominated for two Academy Awards in the 1940s, and received a special Academy Award for Lifetime Achievement in 1970. In 1981, he was accorded the Kennedy Center Honors. Never self-absorbed, Grant poked fun at himself with statements such as, "Everyone wants to be Cary Grant—even I want to be Cary Grant". After seeing a telegram from a magazine editor to his agent asking "HOW OLD CARY GRANT?", Grant reportedly responded with "OLD CARY GRANT FINE. HOW YOU?"
In the last few years of his life, Grant undertook tours of the United States in a one-man show. It was called "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. Grant was preparing for a performance at the Adler Theater in Davenport, Iowa on the afternoon of November 29, 1986 when he sustained a cerebral hemorrhage. He had previously suffered a stroke in October 1984. He died at 11:22 pm in St. Luke's Hospital at the age of 82.
In 2001 a statue of Grant was erected in Millennium Square, a regenerated area next to the harbour in his city of birth, Bristol, England.
In November 2005, Grant came in first in the "The 50 Greatest Movie Stars of All Time" list by ''Premiere Magazine''. Richard Schickel, the film critic, said about Grant: "He's the best star actor there ever was in the movies."
On December 25, 1949, Grant married Betsy Drake. He appeared with her in two films. This would prove to be his longest marriage, ending on August 14, 1962. Drake introduced Grant to LSD, and in the early 1960s he related how treatment with the hallucinogenic drug —legal at the time— at a prestigious California clinic had finally brought him inner peace after yoga, hypnotism, and mysticism had proved ineffective. (In 1932, Grant had also met the Indian spiritual teacher Meher Baba.) Grant and Drake divorced in 1962.
He eloped with Dyan Cannon on July 22, 1965, in Las Vegas. Their daughter, Jennifer Grant, was born prematurely on February 26, 1966. He frequently called her his "best production" and regretted that he had not had children sooner. The marriage was troubled from the beginning, and Cannon left him in December 1966, claiming that Grant flew into frequent rages and spanked her when she "disobeyed" him. The divorce, finalized in 1968, was bitter and public, and custody fights over their daughter went on for nearly ten years.
On April 11, 1981, Grant married long-time companion Barbara Harris, a British hotel public relations agent, who was 47 years his junior. They renewed their vows on their fifth wedding anniversary. (Fifteen years after Grant's death, Harris married former Kansas Jayhawks All-American quarterback David Jaynes in 2001.)
Some, including Hedda Hopper and screenwriter Arthur Laurents have said, that Grant was bisexual, the latter writing that Grant "told me he threw pebbles at my window one night but was luckless". Grant allegedly was involved with costume designer Orry-Kelly when he first moved to Manhattan, and lived with Randolph Scott off and on for twelve years. Richard Blackwell wrote that Grant and Scott were "deeply, madly in love", and alleged eyewitness accounts of their physical affection have been published. However, Grant did admit in an interview that his first two wives had accused him of being homosexual. Betsy Drake commented: "Why would I believe that Cary was homosexual when we were busy fucking?"
Throughout his life, Grant maintained personal friendships with colleagues of varying political stripes, and his few political activities seemed to be shaped by personal friendships. Repulsed by the human costs to many in Hollywood, Grant publicly condemned McCarthyism in 1953, and when his friend Charlie Chaplin, was blacklisted, Grant insisted that the actor's artistic value outweighed political concerns. Grant was also a friend of the Kennedy brothers and Robert Kennedy's press secretary Frank Mankiewicz. He hosted one of Robert Kennedy's first political fundraisers at his home. He made one of his rare statements on public issues following the assassination of Robert F. Kennedy, calling for gun control.
In 1976, after his retirement from movies, Grant made his one overtly partisan appearance, introducing his friend Betty Ford, the First Lady, at the Republican National Convention, but even in this he maintained some distance from partisanship, speaking of "your" party, rather than "ours" in his remarks.
Category:1904 births Category:1986 deaths Category:Academy Honorary Award recipients Category:American film actors Category:American people of English descent Category:Deaths from cerebral hemorrhage Category:Deaths from stroke Category:English film actors Category:English emigrants to the United States Category:Kennedy Center honorees Category:Naturalized citizens of the United States Category:Old Fairfieldians Category:People from Bristol Category:Stroke survivors Category:Vaudeville performers Category:20th-century actors Category:European families of English ancestry
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