Adolphe Menjou
from the film A Star Is Born (1937).
Born	Adolphe Jean Menjou (1890-02-18)February 18, 1890 Pittsburgh, Pennsylvania, USA
Died	October 29, 1963(1963-10-29) (aged 73) Beverly Hills, California, U.S.
Cause of death	Hepatitis
Occupation	Actor
Years active	1914–1960
Spouse	Kathryn Carver (m. 1927–1933) «start: (1927)–end+1: (1934)»"Marriage: Kathryn Carver to Adolphe Menjou" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Adolphe_Menjou) Verree Teasdale (m. 1934–1963) «start: (1934)–end+1: (1964)»"Marriage: Verree Teasdale to Adolphe Menjou" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Adolphe_Menjou)

Adolphe Jean Menjou (February 18, 1890 – October 29, 1963) was an American actor.^[1] His career spanned both silent films and talkies, appearing in such films as The Sheik, A Woman of Paris, Morocco, and A Star is Born. He was nominated for an Academy Award for The Front Page in 1931.

Early life[link]

Menjou was born in Pittsburgh, Pennsylvania to a French father, Albert Menjou, and an Irish mother from Galway, Nora (née Joyce).^[2][3] He was raised Catholic and attended the Culver Military Academy, graduating from Cornell University with a degree in engineering. Attracted to the vaudeville stage, he made his movie debut in 1916 in The Blue Envelope Mystery. During World War I, he served as a captain in the ambulance service.

Stardom[link]

Returning from the war, he became a star in such films as The Sheik and The Three Musketeers. When he starred in 1923's A Woman of Paris, he solidified the image of a well-dressed man-about-town, and was later voted the Best Dressed Man in America nine times.^[4] His career stalled with the coming of talkies, but in 1930, he starred in Morocco, with Marlene Dietrich. He was nominated for an Academy Award for The Front Page (1931).

McCarthy era[link]

In 1947, Menjou cooperated with the House Committee on Un-American Activities in its hunt for Communists in Hollywood.^[5] Menjou was a leading member of the Motion Picture Alliance for the Preservation of American Ideals, a group formed to oppose Communist influence in Hollywood. Other members included John Wayne, Barbara Stanwyck (with whom he co-starred in Forbidden in 1932 and Golden Boy in 1939) and her husband, actor Robert Taylor.

Because of his political sympathies, Menjou came into conflict with actress Katharine Hepburn. Menjou appeared with her in the films Stage Door and State of the Union, which also starred Spencer Tracy. Hepburn was strongly opposed to Americans co-operating with the McCarthy hearings. Their clashes were reportedly instant, and mutually cutting; Menjou said of Hepburn during the House Committee on Un-American Activities investigation into alleged Communist infiltration, "Scratch a do-gooder, like Hepburn, and they'll yell, 'Pravda'."^[6] To this, Hepburn called Menjou, "Wisecracking, witty—a flag-waving superpatriot who invested his American dollars in Canadian bonds and had a thing about Communists."^[6] Unsurprisingly, it was reported by William Mann in his biography of Hepburn, Kate, that during the filming of State of the Union, she and Menjou only spoke to each other when required to in the film script.^{[6][citation needed]}

Later years and death[link]

Menjou ended his film career with such roles as French General George Broulard in 1957's Paths of Glory, and as the town curmudgeon in Pollyanna in 1960.

He guest starred as Fitch, with Orson Bean and Sue Randall as John and Ellen Monroe, in an 1961 episode, "The Secret Life of James Thurber", based on the works of the American humorist James Thurber, of the CBS anthology series The DuPont Show with June Allyson. He also appeared in the Thanksgiving episode of NBC's The Ford Show, Starring Tennessee Ernie Ford, which aired on November 22, 1956.^[7] His final film, Disney's Pollyanna (1960) was one his best known roles.

Menjou died on October 29, 1963 of hepatitis in Beverly Hills.^[8] He was interred at Hollywood Forever Cemetery.

Legacy[link]

In 1948, he published his autobiography, It Took Nine Tailors. Menjou has a star on the Hollywood Walk of Fame at 6822 Hollywood Blvd.

Menjou had a brother Henri Menjou (1891–1956) who made an attempt to become an actor. He made three films for Paramount in the mid 1930s.

Partial filmography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Adolphe Menjou

Biography portal

• Adolphe Menjou at the Internet Movie Database
• Adolphe Menjou at the TCM Movie Database
• Adolphe Menjou at AllRovi
• Photographs of Adolphe Menjou

Ann Sheridan
from the trailer for the film Cowboy from Brooklyn (1938).
Born	Clara Lou Sheridan (1915-02-21)February 21, 1915 Denton, Texas, U.S.
Died	January 21, 1967(1967-01-21) (aged 51) Los Angeles, California, U.S.
Occupation	Actress
Years active	1934–1967
Spouse	Edward Norris (m. 1936–1939; divorced) George Brent (m. 1942–1943; divorced) Scott McKay (m. 1966–1967; her death)

Ann Sheridan (February 21, 1915 – January 21, 1967) was an American actress. She worked regularly from 1934 to her death in 1967, first in film and later in television. Notable roles include Angels With Dirty Faces (1938), The Man Who Came to Dinner (1942), Kings Row (1942) and I Was a Male War Bride (1949). She is not to be confused with Anne Sheridan (1908–2008), another actress, who performed in silent films of the 1920s.

Life and career[link]

Born Clara Lou Sheridan in Denton, Texas on February 21, 1915, she was a student at the University of North Texas when her sister sent a photograph of her to Paramount Pictures. She subsequently entered and won a beauty contest, with part of her prize being a bit part in a Paramount film. She abandoned college to pursue a career in Hollywood.

She made her film debut in 1934, aged 19, in the film Search for Beauty, and played uncredited bit parts in Paramount films for the next two years. Paramount made little effort to develop Sheridan's talent, so she left, signing a contract with Warner Bros. in 1936, and changing her name to Ann Sheridan.

Sheridan's career prospects began to improve. She received as many as 250 marriage proposals from fans in a single week.^[1] Tagged "The Oomph Girl," Sheridan was a popular pin-up girl in the early 1940s.

She was the heroine of a novel, Ann Sheridan and the Sign of the Sphinx, written by Kathryn Heisenfelt, published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories were entirely fictitious. The story was probably written for a young teenage audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941-1947 that always featured a film actress as heroine.^[2]

She received substantial roles and positive reaction from critics and moviegoers in such films as Angels with Dirty Faces (1938), opposite James Cagney and Humphrey Bogart, Dodge City (1939) with Errol Flynn and Olivia de Havilland, Torrid Zone with Cagney and They Drive by Night with George Raft and Bogart (both 1940), The Man Who Came to Dinner (1942) with Bette Davis, and Kings Row (1942), in which she received top billing playing opposite Ronald Reagan, Robert Cummings, and Betty Field.

She also appeared in such musicals as It All Came True (1940) and Navy Blues (1941). She was also memorable in two of her biggest hits, Nora Prentiss and The Unfaithful, both in 1947.

Despite these successes, her career began to decline. Her role in I Was a Male War Bride (1949), directed by Howard Hawks and costarring Cary Grant, gave her another success, but by the 1950s, she was struggling to find work and her film roles were sporadic. In 1950, she appeared on the ABC musical television series Stop the Music. In 1962, she played the lead in "The Mavis Grant Story" on the Western series Wagon Train. In the middle 1960s, Sheridan appeared on the NBC soap opera Another World.

In 1966, Sheridan began starring in a new TV series, a Western-themed comedy called Pistols 'n' Petticoats. But she became ill during the filming, and died of esophageal and liver cancer in Los Angeles, California. She had been a chain cigarette smoker for years, and Cagney remarked in his autobiography that when the cancer struck, "she didn't have a chance." Pistols 'n' Petticoats was officially canceled before her death, though some episodes aired afterward. Her lines were dubbed in at least one of these, and she could not appear in a few of the final episodes.

Marriages[link]

Sheridan married three times, including a marriage lasting one year to fellow Warner Bros star George Brent, who co-starred with her in Honeymoon for Three (1941). She had no children.

For her contributions to the motion picture industry, Ann Sheridan has a star on the Hollywood Walk Of Fame at 7024 Hollywood Boulevard.

Death[link]

Ann Sheridan died of cancer at age 51 in 1967. She was cremated, and her ashes were stored at the Chapel of the Pines Crematory in Los Angeles until her remains were interred in a niche in the Chapel Columbarium at the Hollywood Forever Cemetery in 2005.^[3]

Filmography[link]

References[link]

External links[link]

Biography portal

Wikimedia Commons has media related to: Ann Sheridan

• Ann Sheridan at the Internet Movie Database
• Ann Sheridan at the TCM Movie Database
• Ann Sheridan at AllRovi
• Interview with Ann Sheridan biographer
• Photographs and literature

Eve Arden
with the Armed Forces Radio Service, 1940s
Born	Eunice M. Quedens (1908-04-30)April 30, 1908 Mill Valley, California, U.S.
Died	November 12, 1990(1990-11-12) (aged 82)[1] Los Angeles, California, U.S.
Occupation	Actress
Years active	1929–1987
Spouse	Ned Bergen (m. 1939–1947) «start: (1939)–end+1: (1948)»"Marriage: Ned Bergen to Eve Arden" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Eve_Arden) (divorced) Brooks West (m. 1952–1984) «start: (1952)–end+1: (1985)»"Marriage: Brooks West to Eve Arden" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Eve_Arden) (his death); 4 children[2]

Eve Arden (April 30, 1908^[3] – November 12, 1990) was an American actress. Her almost 60-year career crossed most media frontiers with supporting and leading roles, but she may be best-remembered for playing the sardonic but engaging title character, a high school teacher, on Our Miss Brooks, and as the Rydell High School principal in the films Grease and Grease 2.

Early life[link]

Eve Arden was born Eunice M. Quedens (pronounced qwi-DENZ) in Mill Valley, California, to Lucille and Charles Peter Quedens. Her parents divorced when she was a child. Arden claimed to have been an insecure child, declaring later in life that she needed therapy because her mother was so much more beautiful than she.^{[citation needed]}

Some sources indicate that Arden was Catholic based solely on the fact that she had, at one point, attended a Roman Catholic convent school. However, at age 16, she left Tamalpais High School, a public high school, and joined a stock theater company.^[4] She made her film debut, under her real name, in the backstage musical Song of Love (1929). She played a wisecracking showgirl who becomes a rival to the film's star, singer Belle Baker. The film was one of Columbia Pictures' earliest successes.

Arden's Broadway debut came in 1934, when she was cast in that year's Ziegfeld Follies revue. This role was the first in which she was credited as Eve Arden. She chose that name after being told by producer Lee Shubert to drop her real name and claims she was inspired by two cosmetics bottles in her dressing room, one labeled Evening in Paris and the other by Elizabeth Arden.^[5]

Career[link]

Film[link]

from Comrade X (1940)

Her film career began in earnest in 1937 when she appeared in the films Oh Doctor and Stage Door. Her Stage Door portrayal of a fast-talking, witty supporting character, gained Arden considerable notice and was to be a template for many of Arden's future roles.^[2]

Her many memorable screen roles include a supporting role as Joan Crawford's wise-cracking friend in Mildred Pierce (1945) for which she received an Academy Award nomination as Best Supporting Actress, and James Stewart's wistful secretary in Otto Preminger's then-explicit murder mystery, Anatomy of a Murder (1959). (One of her co-stars in that film was husband Brooks West.) She also performed some acrobatics while trying to steal a wallet from Groucho Marx in the Marx Brothers film At the Circus (1939). In 1946 exhibitors voted her the sixth-most promising "star of tomorrow".^[6]

Radio and television[link]

Arden's quick wit made her a natural talent for radio; she became a regular on Danny Kaye's short-lived but memorably zany comedy-variety show in 1946, which also featured swing bandleader Harry James and gravel-voiced character actor-comedian Lionel Stander.^[7]

Kaye's show lasted one season, but Arden's display of comic talent and timing set the stage for her to be cast in her most well-known role, Madison High School English teacher Connie Brooks in Our Miss Brooks. Arden portrayed the character on radio from 1948 to 1957, in a television version of the program from 1952 to 1956, and in a 1956 feature film. Arden's character clashed with the school's principal, Osgood Conklin (played by Gale Gordon), and nursed an unrequited crush on fellow teacher Philip Boynton (played originally by future film star Jeff Chandler and, on television, by Robert Rockwell). Except for Chandler, the entire radio cast of Arden, Gordon, Richard Crenna (Walter Denton), Gloria McMillan (Harriet Conklin), and Jane Morgan (landlady Margaret Davis) played the same roles on television.

Arden's portrayal of the character was so popular that she was made an honorary member of the National Education Association, received a 1952 award from the Teachers College of Connecticut's Alumni Association "for humanizing the American teacher", and even received teaching job offers.^[1] She won a listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948–1949, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this (award) two years in a row, I get to keep Mr. Boynton," she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.^[8]

Arden had a very brief guest role in a 1955 I Love Lucy episode entitled "L.A. at Last" in which she played herself. While awaiting their food at The Brown Derby, a Hollywood restaurant, Lucy (Lucille Ball) and Ethel (Vivian Vance) argue over whether a certain portrait on a nearby wall is Shelley Winters or Judy Holliday. Lucy urges Ethel to ask a lady occupying the next booth, who turns and replies, "Neither. That's Eve Arden." Ethel suddenly realizes she was just talking to Arden herself, who soon passes Lucy and Ethel's table to leave the restaurant while the pair gawk.

Desilu Productions, jointly owned by Desi Arnaz and Ball during their marriage, was the production company for the Our Miss Brooks television show, which filmed during the same years as I Love Lucy. Ball and Arden became acquainted when they co-starred together in the film Stage Door in 1937. It was Ball, according to numerous radio historians, who suggested Arden for Our Miss Brooks after Shirley Booth auditioned for but failed to land the role and Ball – committed at the time to My Favorite Husband – could not.^[9]

Arden tried another series in the fall of 1957, The Eve Arden Show, but it was canceled in spring of 1958 after only a few episodes. She later co-starred with Kaye Ballard as her neighbor and in-law, Eve Hubbard, in the 1967–69 situation comedy The Mothers-in-Law, which was produced by her old friend Desi Arnaz after the dissolution of Desilu.^[10]

Other credits[link]

Arden was one of many actresses to take on the title roles in Hello, Dolly! and Auntie Mame in the 1960s; in 1967, she won the Sarah Siddons Award for her work in Chicago theatre.^[11] Arden was cast in 1983 as the leading lady in what was to be her Broadway comeback in Moose Murders. But she wisely withdrew (and was replaced with the much younger Holland Taylor) after one preview performance, citing "artistic differences", and the show went on to open and close on the same night, becoming known as one of the most legendary flops in Broadway history.^[12]

She became familiar to a new generation of film-goers when she played Principal McGee in both 1978's Grease and 1982's Grease 2, as well as making appearances on such television shows as Alice, Maude and Falcon Crest. In 1985, she appeared as the wicked stepmother in the Faerie Tale Theatre production of Cinderella.

Arden published an autobiography, The Three Phases of Eve, in 1985. In addition to her Academy Award nomination, Arden has two stars on the Hollywood Walk of Fame: Radio and Television (see List of stars on the Hollywood Walk of Fame for addresses). She was inducted into the National Radio Hall of Fame in 1995.^[13]

Personal life[link]

Arden was married to Ned Bergen from 1939 to 1947, and to actor Brooks West from 1952 until his death in 1984 from a heart ailment. She and West had four children.

Death[link]

Eve Arden died from colorectal cancer and heart disease at her home in Los Angeles, California at the age of 82 and is interred in the Westwood Village Memorial Park Cemetery in Westwood, California.^[14]

Filmography[link]

Features[link]

Short subjects[link]

• Screen Snapshots: Off the Air (1947)
• Screen Snaphots: Hollywood Life (1954)

References[link]

Further reading[link]

• Tucker, David C. (2007). The Women Who Made Television Funny: Ten Stars of 1950s Sitcoms. Jefferson, N.C. : McFarland & Co. ISBN 0-7864-2900-3. 
• Karol, Michael (2005). Sitcom Queens: Divas of the Small Screen. iUniverse. ISBN 0-595-40251-8. 
• Ian Herbert, ed. (1981). "ARDEN, Eve". Who's Who in the Theatre. 1. Gale Research Company. p. 21. ISSN 0083-9833. 

External links[link]

Biography portal

Wikimedia Commons has media related to: Eve Arden

• Eve Arden at the Internet Movie Database
• Eve Arden at Find a Grave
• Eve Arden at AllRovi
• Eve Arden at the Internet Broadway Database
• Literature on Eve Arden

This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: The article lacks structure and needs more background information (as well as sources).. Please help improve this article if you can; the talk page may contain suggestions. (December 2011)

This article may require copy editing for grammar, style, cohesion, tone, or spelling. You can assist by editing it. (December 2011)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2011)

There are many people in history who are commonly appended with the phrase "the Great", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as e Bozorg and e azam in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.^[1]

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus)^[2] assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "the Great".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers[link]

• Abbas I of Persia (1571–1629), Shah of Iran
• Akbar (1542–1605), ruler of the Mughal Empire of South Asia, mainly India
• Alain I of Albret (1440–1522), French aristocrat
• Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia
• Alexander I of Georgia (1386–1446), King of Georgia
• Alfonso III of León (c. 848-910), King of León, Galicia and Asturias
• Alfred the Great (848/849-899), King of Wessex
• Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire
• Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty
• Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),
• Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire
• Bhumibol Adulyadej (born 1927), King of Thailand
• Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)
• Buddha Yodfa Chulaloke (1736–1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)
• Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden
• Casimir III the Great (1310–1370), King of Poland
• Catherine the Great (1729–1796), Empress of Russia
• Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India
• Charlemagne (died 814), King of the Franks and Emperor of the Romans
• Chulalongkorn (1853–1910), King of Siam (now Thailand)
• Chlothar II (584-629), King of Neustria and King of the Franks
• Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen
• Constantine I (c. 272-337), Roman emperor
• Cyaxares the Great (c. 625-585 BC), third king of Media
• Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire
• Darius the Great (550 – 486 BC), third ruler of the Persian Empire
• Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent
• Dionysius I, Greek tyrant of Syracuse^[3]
• Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile
• Frederick the Great (1712–1786), King of Prussia
• Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire
• Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe
• Gustavus Adolphus of Sweden (1594–1632), King of Sweden, founder of the Swedish Empire, and noted military leader
• Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea^[4][5]
• Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC
• Henry I, Duke of Burgundy (946–1002)
• Henry IV of France (1553–1610), King of France and King of Navarre
• Herod the Great (73/74 BC-4 BC), King of Judea
• Hugh the Great (898-956), Duke of the Franks and Count of Paris
• Hugh Magnus of France (1007–1025), co-King of France
• Hugh I, Count of Vermandois (1057–1101)
• Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat
• Ivan III of Russia (1440–1505), Tsar of Russia
• John I of Portugal (1358–1433), King of Portugal and the Algarve
• John II of Aragon (1398–1479), King of Aragon and, through his wife, King of Navarre
• Justinian I (483-565), Byzantine Emperor
• Kamehameha I (c. 1758-1819), first King of Hawai'i
• Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India
• Kvirike III of Kakheti (1010–1029), King of Kakheti in eastern Georgia
• Kublai Khan (1215–1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty
• Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales
• Louis I of Hungary (1326–1382), King of Hungary, Croatia and Poland
• Mangrai the Great (1238–1317), Lanna, northern Thailand
• Emperor Meiji (1852–1912), Emperor of Japan
• Mircea I of Wallachia (1355–1418)
• Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)
• Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom
• Mstislav I of Kiev (1076–1132), Grand Prince of Kievan Rus
• Naresuan (1555–1605), King of Ayutthaya
• Narai (1633–1688), King of Ayutthaya (in what is now modern Thailand)
• Odo the Great (died c. 735), Duke of Aquitaine
• Otto I, Holy Roman Emperor (912-973)
• K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque
• Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka
• Peter Krešimir IV of Croatia (died 1075), King of Croatia
• Peter the Great (1672–1725), Tsar of Russia
• Peter III of Aragon (1239–1285), King of Aragon and King of Sicily
• Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar
• Radama I (1793–1828), first king of greater Madagascar
• Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.^[6][7][8]
• Rajendra Chola I (reigned 1014–1044), Tamil King of India
• Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt
• Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)
• Ramon Berenguer III, Count of Barcelona (1082–1131), also Count of Provence and various other counties
• Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)
• Roman the Great (after 1160-1205), Grand Prince of Kiev
• Saladin (c. 1138-1193), Kurdish Sultan of Egypt and Syria, founder of the Ayyubid dynasty, and victor over the Crusaders
• Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent
• Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre
• Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire
• Sejong the Great (1397–1450), Korean king^[9]
• Shapur II (309-379), king of the Sassanid Empire, Persia
• Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire
• Stephen III of Moldavia (1433–1504), Prince of Moldavia (Romania)
• Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks
• Taksin (1734–1782), King of the Thonburi Kingdom (Thailand)
• Tamar (1160-1123), Queen of the Georgian Empire
• Timur (1336–1405), better known as Tamerlane, founder of the Timurid Dynasty
• Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie
• Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire
• Theodosius I (347-395), Roman emperor
• Tigranes the Great (140-55 BC), Emperor of Armenia
• Tiridates III of Armenia (285-339), King of Armenia
• Umar (c. 586 to 590–644), second caliph of the Muslim Empire
• Valdemar I of Denmark (1131–1182), King of Denmark
• Valentinian I (364-375), Roman Emperor
• Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus
• Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy
• William I, Count of Burgundy (1020–1087), Count of Burgandy and Mâcon
• William V, Duke of Aquitaine (969-1030), also Count of Poitou
• Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)
• Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures[link]

• Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East
• Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia
• Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian
• Anthony the Great (c. 251–356), early Christian saint of Egypt
• Babai the Great (c. 551–628), Assyrian church leader
• Basil of Caesarea (330-379), Greek bishop and theologian
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)
• Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint
• Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint
• Pope Gregory I (c. 540-604)
• Hiyya the Great, 3rd-century rabbi, Palestine
• Pope John Paul II (1920–2005)
• Pope Leo I (c. 391 or 400-461)
• Macarius of Egypt (c. 300-391), Egyptian hermit
• Pope Nicholas I (c. 800-867)
• Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople
• William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other[link]

• Beli Mawr, a figure in medieval Welsh literature and genealogies
• Emmy the Great, folk singer
• Matteo Rosso the Great, Roman politician and father of Pope Nicholas III
• Prokop the Great, Hussite general in Bohemia

See also[link]

• Epithet
• List of monarchs by nickname
• List of nicknames of European Royalty and Nobility: G-I
• James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus
• Ajax (mythology), called Ajax the Greater
• Mohandas Karamchand Gandhi, whose common honorific "Mahatma" means "Great Soul"

Notes[link]

Ginger Rogers
Born	Virginia Katherine McMath (1911-07-16)July 16, 1911 Independence, Missouri
Died	April 25, 1995(1995-04-25) (aged 83) Rancho Mirage, California
Occupation	Actress, singer, artist, and dancer
Years active	1929–1987
Spouse	Jack Pepper (m.1929–1931; divorced) Lew Ayres (m.1934–1941; divorced) Jack Briggs (m.1943–1949; divorced) Jacques Bergerac (m.1953–1957; divorced) William Marshall (m.1961–1969; divorced)

Ginger Rogers (July 16, 1911 – April 25, 1995) was an American actress, dancer, and singer who appeared in film, and on stage, radio, and television throughout much of the 20th century.

During her long career, she made a total of 73 films, and was best known as Fred Astaire's romantic interest and dancing partner in a series of ten Hollywood musical films that revolutionized the genre. She achieved great success on her own in a variety of film roles and won the Academy Award for Best Actress for her performance in Kitty Foyle (1940). She ranks #14 on the AFI's 100 Years...100 Stars list of actress screen legends.

Early life[link]

Rogers was born Virginia Katherine McMath in Independence, Missouri, the only child of William Eddins McMath, an electrical engineer, and his wife, Lela Emogene (née Owens; 1891–1977).^[1] Ginger's parents separated soon after her birth, and she and her mother went to live with her grandparents, Walter and Saphrona (née Ball) Owens, in nearby Kansas City. Rogers' parents fought over her custody. After her mother denied him visitation, her father reportedly absconded with his daughter twice. After her parents divorced, Rogers stayed with her grandparents while her mother wrote scripts for two years in Hollywood. Rogers was to remain close to her grandfather (much later, when she was a star in 1939, she bought him a home at 5115 Greenbush Avenue in Sherman Oaks, California so that he could be close to her while she was filming at the studios).^{[citation needed]}

One of Rogers' young cousins, Helen, had a hard time pronouncing "Virginia", shortening it to "Ginga"; the nickname stuck. When "Ginga" was nine years old, her mother remarried, to John Logan Rogers. Ginger took the surname Rogers, although she was never legally adopted. They lived in Fort Worth, Texas. Her mother became a theater critic for a local newspaper, the Fort Worth Record. She attended but did not graduate from Fort Worth's Central High School. As a teenager, Rogers thought of becoming a schoolteacher, but with her mother's interest in Hollywood and the theater, her early exposure to the theater increased. Waiting for her mother in the wings of the Majestic Theatre, she began to sing and dance along with the performers on stage.^{[citation needed]}

Vaudeville and Broadway[link]

Rogers' entertainment career was born one night when the traveling vaudeville act of Eddie Foy came to Fort Worth and needed a quick stand-in. She then entered and won a Charleston dance contest which allowed her to tour for six months, at one point in 1926 performing at an 18-month-old theater called The Craterian in Medford, Oregon. This theater honored her many years later by changing its name to the Craterian Ginger Rogers Theater.^[2]

At 17, Rogers married Jack Culpepper, a singer/dancer/comedian/recording artist of the day who worked under the name Jack Pepper (according to Ginger's autobiography, she knew Culpepper when she was a child, as her cousin's boyfriend). They formed a short-lived vaudeville double act known as "Ginger and Pepper". The marriage was over within months, and she went back to touring with her mother. When the tour got to New York City, she stayed, getting radio singing jobs and then her Broadway theater debut in a musical called Top Speed, which opened on Christmas Day, 1929.

Within two weeks of opening in Top Speed, Rogers was chosen to star on Broadway in Girl Crazy by George Gershwin and Ira Gershwin, the musical play widely considered to have made stars of both her and Ethel Merman. Fred Astaire was hired to help the dancers with their choreography. Her appearance in Girl Crazy made her an overnight star at the age of 19. In 1930, she was signed by Paramount Pictures to a seven-year contract.

Film career[link]

1929–1933[link]

Pre-blonde, early career portrait

Rogers' first movie roles were in a trio of short films made in 1929—Night in the Dormitory, A Day of a Man of Affairs, and Campus Sweethearts.

Rogers would soon get herself out of the Paramount contract—under which she had made five feature films at Astoria Studios in Astoria, Queens—and move with her mother to Hollywood. When she got to California, she signed a three-picture deal with Pathé Exchange. She made feature films for Warner Bros., Monogram, and Fox in 1932 and was named one of fifteen "WAMPAS Baby Stars". She then made a significant breakthrough as "Anytime Annie" in the Warner Brothers film 42nd Street (1933). She went on to make a series of films with Fox, Warner Bros. ("Gold Diggers of 1933"), Universal, Paramount, and RKO Radio Pictures and, in her second RKO picture, Flying Down to Rio (1933), she worked for the first time with Fred Astaire.

1933–1939: Astaire and Rogers[link]

The announcement of the Astaire-Rogers screen partnership – from the trailer to Flying Down to Rio

Rogers was most famous for her partnership with Fred Astaire. Together, from 1933 to 1939, they made nine musical films at RKO: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939) (The Barkleys of Broadway (1949) was produced later at MGM). They revolutionized the Hollywood musical, introducing dance routines of unprecedented elegance and virtuosity, set to songs specially composed for them by the greatest popular song composers of the day.

Arlene Croce, Hannah Hyam and John Mueller all consider Rogers to have been Astaire's finest dance partner, principally because of her ability to combine dancing skills, natural beauty, and exceptional abilities as a dramatic actress and comedienne, thus truly complementing Astaire, a peerless dancer who sometimes struggled as an actor and was not considered classically handsome. The resulting song and dance partnership enjoyed a unique credibility in the eyes of audiences. Of the 33 partnered dances she performed with Astaire, Croce and Mueller have highlighted the infectious spontaneity of her performances in the comic numbers "I'll Be Hard to Handle" from Roberta (1935), "I'm Putting All My Eggs in One Basket" from Follow the Fleet (1936) and "Pick Yourself Up" from Swing Time (1936). They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as "Smoke Gets in Your Eyes" from Roberta (1935), "Cheek to Cheek" from Top Hat (1935) and "Let's Face the Music and Dance" from Follow the Fleet (1936). For special praise, they have singled out her performance in "Waltz in Swing Time" from Swing Time (1936), which is generally considered to be the most virtuosic partnered routine ever committed to film by Astaire. She generally avoided solo dance performances: Astaire always included at least one virtuoso solo routine in each film, while Rogers performed only one: "Let Yourself Go" from Follow the Fleet (1936).

Although the dance routines were choreographed by Astaire and his collaborator Hermes Pan, both have acknowledged Rogers's input and have also testified to her consummate professionalism, even during periods of intense strain, as she tried to juggle her many other contractual film commitments with the punishing rehearsal schedules of Astaire, who made at most two films in any one year. In 1986, shortly before his death, Astaire remarked, "All the girls I ever danced with thought they couldn't do it, but of course they could. So they always cried. All except Ginger. No no, Ginger never cried".^{[citation needed]} John Mueller summed up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began...the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable".^{[citation needed]} According to Astaire, when they were first teamed together in Flying Down to Rio, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."^{[citation needed]} Astaire also had this to say to Raymond Rohauer, curator at the New York Gallery of Modern Art: "Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success."^{[citation needed]}

Rogers also introduced some celebrated numbers from the Great American Songbook, songs such as Harry Warren and Al Dubin's "The Gold Diggers' Song (We're in the Money)" from Gold Diggers of 1933 (1933), "Music Makes Me" from Flying Down to Rio (1933), "The Continental" from The Gay Divorcee (1934), Irving Berlin's "Let Yourself Go" from Follow the Fleet (1936), the Gershwins' "Embraceable You" from Girl Crazy and "They All Laughed (at Christopher Columbus)" from Shall We Dance (1937). Furthermore, in song duets with Astaire, she co-introduced Berlin's "I'm Putting All My Eggs in One Basket" from Follow the Fleet (1936), Jerome Kern and Dorothy Fields's "Pick Yourself Up" and "A Fine Romance" from Swing Time (1936) and the Gershwins' "Let's Call the Whole Thing Off" from Shall We Dance (1937).

After 1939[link]

Ginger Rogers's feet and hand prints at Grauman's Chinese Theatre

After 15 months apart and with RKO facing bankruptcy, the studio hired Fred and Ginger for another movie called Carefree, but it lost money. Next came The Story of Vernon and Irene Castle, but the serious plot and tragic ending resulted in the worst box office receipts of any of their films. This was driven not by diminished popularity, but by the hard 1930s economic reality. The production costs of musicals, always significantly more costly than regular features, continued to increase at a much faster rate than admissions. Everyone agreed it was time to stop.

Both before and immediately after her dancing and acting partnership with Fred Astaire ended, Rogers starred in a number of successful dramas and comedies. Stage Door (1937) demonstrated her dramatic capacity, as the loquacious yet vulnerable girl next door, a tough minded, theatrical hopeful, opposite Katharine Hepburn. In Roxie Hart (1942), based on the same play which served as the template for the later musical Chicago, Ginger played a wise-cracking wife on trial for a murder her husband committed. In the neo-realist Primrose Path (1940), directed by Gregory La Cava, she played a prostitute's daughter trying to avoid the fate of her mother. Further highlights of this period included Tom, Dick, and Harry, a 1941 comedy in which she dreams of marrying three different men; I'll Be Seeing You, with Joseph Cotten; La Cava's 5th Avenue Girl (1939), where she played an out-of-work girl sucked into the lives of a wealthy family; and especially the sharp and highly successful comedies: Bachelor Mother (1939), with David Niven, in which she played Polly Parrish, a shop girl who is falsely thought to have abandoned her baby; and Billy Wilder's first Hollywood feature film: The Major and the Minor (1942), in which she played a woman who masquerades as a 12-year-old to get a cheap train ticket and finds herself obliged to continue the ruse for an extended period. This film featured a performance by Rogers's own real mother, Lela, playing her film mother.

Ginger Rogers in the Oscar-winning, title role of Kitty Foyle

In 1941, Rogers won the Academy Award for Best Actress for her role in 1940's Kitty Foyle. She enjoyed considerable success during the early 1940s, and was RKO's hottest property during this period. Becoming a free agent, she made hugely successful films with other studios in the mid-'40s, including Tender Comrade (1943), Lady in the Dark (1944), and Week-End at the Waldorf (1945), and became the highest-paid performer in Hollywood. However, by the end of the decade, her film career had peaked. Arthur Freed reunited her with Fred Astaire in The Barkleys of Broadway in 1949.

Rogers' film career entered a period of gradual decline in the 1950s, as parts for older actresses became more difficult to obtain, but she still scored with some solid movies. She starred in Storm Warning (1950) with Ronald Reagan and Doris Day, the noir, anti Ku Klux Klan film by Warner Brothers, and in Monkey Business (1952) with Cary Grant and Marilyn Monroe, directed by Howard Hawks. In the same year, she also starred in We're Not Married!, also featuring Marilyn Monroe, and in Dreamboat. She played the female lead in Tight Spot (1955), a mystery thriller, with Edward G. Robinson. After a series of unremarkable films she scored with a great popular success, playing Dolly Levi in the long-running Hello, Dolly! on Broadway in 1965.^{[citation needed]}

With Cary Grant and Marilyn Monroe in Monkey Business (1952)

In later life, Rogers remained on good terms with Astaire: she presented him with a special Academy Award in 1950, and they were co-presenters of individual Academy Awards in 1967, during which they elicited a standing ovation when they came on stage in an impromptu dance. In 1969, she had the lead role in another long-running popular production of Mame, from the book by Jerome Lawrence and Robert Edwin Lee, with music and lyrics by Jerry Herman, at the Theatre Royal Drury Lane in the West End of London, arriving for the role on the Liner QE2 from New York. Her docking there occasioned the maximum of pomp and ceremony at Southampton. She became the highest paid performer in the history of the West End up to that time. The production ran for 14 months and featured a Royal Command Performance for Queen Elizabeth II. The Kennedy Center honored Ginger Rogers in December 1992. This event, which was shown on television, was somewhat marred when Astaire's widow, Robyn Smith, who permitted clips of Astaire dancing with Rogers to be shown for free at the function itself, was unable to come to terms with CBS Television for broadcast rights to the clips (all previous rights holders having donated broadcast rights gratis).^[3]

From the 1950s onwards, Rogers would make occasional appearances on television. In the later years of her career, she made guest appearances in three different series by Aaron Spelling; The Love Boat (1979), Glitter (1984), and Hotel (1987), which would be her final screen appearance as an actress.

Personal life[link]

Rogers was an only child, and maintained a close relationship with her mother throughout her life. Lela Rogers (1891–1977) was a newspaper reporter, scriptwriter, and movie producer. She was also one of the first women to enlist in the Marine Corps, was a founder of the successful "Hollywood Playhouse" for aspiring actors and actresses on the RKO set, and was a founder of the Motion Picture Alliance for the Preservation of American Ideals. Mother and daughter had an extremely close professional relationship as well. Lela Rogers was credited with many pivotal contributions to her daughter's early successes in New York and in Hollywood, not to mention contract negotiations with RKO.

In her classic 1930s musicals with Astaire, Ginger Rogers, co-billed with him, was paid less than Fred, the creative force behind the dances, who also received 10% of the profits. But she was also paid less than many of the supporting "farceurs" billed beneath her, in spite of her much more central role in the films' great financial success. This was personally grating to her, and had effects upon her relationships at RKO, especially with director Mark Sandrich, whose purported disrespect of Rogers prompted a sharp letter of reprimand from producer Pandro Berman, which she deemed important enough to publish in her autobiography. Rogers fought hard for her contract and salary rights, and for better films and scripts.

Rogers' first marriage was at age 17 to her dancing partner Jack Pepper (real name Edward Jackson Culpepper) on March 29, 1929. They divorced in 1931, having separated soon after the wedding. In 1934 she married actor Lew Ayres (1908–1996). They divorced seven years later. Rogers sued Sylvia of Hollywood for $100K for defamation. Sylvia, Hollywood's fitness guru and radio personality, had claimed that Rogers was on Sylvia's radio show when, in fact, she was not.^[4] In 1943, Rogers married her third husband, Jack Briggs, a Marine. Upon his return from World War II, Briggs showed no interest in continuing his incipient Hollywood career. They divorced in 1949. In 1953 she married Jacques Bergerac, a French actor 16 years her junior, whom she met on a trip to Paris. A lawyer in France, he came to Hollywood with her and became an actor. They divorced in 1957. Her fifth and final husband was director and producer William Marshall. They married in 1961, and divorced in 1971, after his bouts with alcohol, and the financial collapse of their joint film production company in Jamaica.

Rogers was lifelong friends with actresses Lucille Ball and Bette Davis. Rogers starred in one of the earliest films co-directed and co-scripted by a woman, Wanda Tuchock's Finishing School (1934). In 1985, Rogers fulfilled a long-standing wish to direct by directing the musical Babes in Arms off-Broadway in Tarrytown, New York, when she was 74 years old. She appeared with Ball in an episode of Here's Lucy on November 22, 1971, in which Rogers danced the Charleston for the first time in many years. Rogers maintained a close friendship with her cousin, writer/socialite Phyllis Fraser, but was not Rita Hayworth's natural cousin as has been reported. Hayworth's maternal uncle, Vinton Hayworth, was married to Rogers's maternal aunt, Jean Owens.

Rogers was a lifelong conservative and a member of the Republican Party.^[5] Along with her mother, and such contemporaries as Gary Cooper, Clark Gable, Barbara Stanwyck, Rogers was a founding member of the Motion Picture Alliance for the Preservation of American Ideals, a Hollywood anti-Communist group.

She was raised a Christian Scientist, and remained a lifelong adherent.^[6] She devoted a great deal of time in her autobiography to the importance of her faith throughout her career.

In 1977, Rogers's mother died. Rogers remained at the 4-Rs (Rogers's Rogue River Ranch) until 1990, when she sold the property and moved to nearby Medford, Oregon. Her last public appearance was on March 18, 1995 when she received the Women's International Center (WIC) Living Legacy Award. For many years, Rogers regularly supported, and held in-person presentations, at the Craterian Theater, in Medford, Oregon, where she had performed in 1926 as a vaudevillian. The theater was comprehensively restored in 1997, and posthumously renamed in her honor, as the Craterian Ginger Rogers Theater.

Death[link]

Rogers would spend winters in Rancho Mirage and summers in Medford. She continued making public appearances (mostly at award shows) until suffering a stroke that left her relying on the use of a wheelchair due to being partially paralyzed. Rogers died at her Rancho Mirage home on April 25, 1995, at the age of 83. An autopsy was performed in compliance with California law that required post-mortem examination on anyone who had not received medical treatment within 40 days of death (despite her stroke, Rogers never saw a doctor or went to a hospital) and concluded that the cause of death was a heart attack.^[7] She was cremated and her ashes interred in the Oakwood Memorial Park Cemetery in Chatsworth, California, with her mother's remains.

Portrayals of Rogers[link]

No films have been made about Ginger Rogers, possibly because her best-known co-star Fred Astaire stipulated in his will that no film representations of him were ever to be made.

• Likenesses of Astaire and Rogers, apparently painted over from the Cheek to Cheek dance in Top Hat, are in the Lucy in the Skies section of The Beatles film Yellow Submarine (1968).

• Rogers' image is one of many famous women's images of the 1930s and 40s featured on the bedroom wall in the Anne Frank House in Amsterdam, a gallery of magazine cuttings pasted on the wall created by Anne and her sister Margot while hiding from the Nazis. When the house became a museum, the gallery the Frank sisters created was preserved under glass. Rogers' image is one of the larger and more prominent, which clearly indicates her global and mass appeal amongst the youth of the time.

• A musical about the life of Rogers, entitled Backwards in High Heels, premiered in Florida in early 2007.^[8][9]

• Rogers was the heroine of a novel, Ginger Rogers and the Riddle of the Scarlet Cloak (1942, by Lela E. Rogers), in which "the heroine has the same name and appearance as the famous actress but has no connection ... it is as though the famous actress has stepped into an alternate reality in which she is an ordinary person." It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941–1947 that featured a film actress as heroine.^[10]

Filmography[link]

Features[link]

Short subjects[link]

• A Day of a Man of Affairs (1929)
• A Night in a Dormitory (1930)
• Campus Sweethearts (1930)
• Office Blues (1930)
• Hollywood on Parade (1932)
• Screen Snapshots (1932)
• Hollywood on Parade No. A-9 (1933)
• Hollywood Newsreel (1934)
• Screen Snapshots Series 16, No. 3 (1936)
• Show Business at War (1943)
• Battle Stations (Narrator, 1944)
• Screen Snapshots: The Great Showman (1950)
• Screen Snapshots: Hollywood's Great Entertainers (1954)

Television[link]

• The DuPont Show with June Allyson, as Kay Neilson in "The Tender Shoot" (October 18, 1959)
• What's My Line? (1954, 1957, 1963)
• The Jack Benny Program (1957)
• The Pat Boone Chevy Showroom (1959)
• Cinderella (1965)
• Here's Lucy (1971)(episode 4.11)
• The Love Boat (1979) (episodes 3.10 and 3.11)
• Glitter (1984) (episode 1.3)
• Hotel (1987) (episode 5.1) (final screen role)

References[link]

Bibliography[link]

• Fred Astaire: Steps in Time, 1959, multiple reprints.
• Arlene Croce: The Fred Astaire and Ginger Rogers Book, Galahad Books 1974, ISBN 0-88365-099-1
• Jocelyn Faris: Ginger Rogers – a Bio-Bibliography, Greenwood Press, Connecticut, 1994, ISBN 0-313-29177-2
• Hannah Hyam: Fred and Ginger – The Astaire-Rogers Partnership 1934–1938, Pen Press Publications, Brighton, 2007. ISBN 978-1-905621-96-5
• John Mueller: Astaire Dancing – The Musical Films of Fred Astaire, Knopf 1985, ISBN 0-394-51654-0
• Ginger Rogers: Ginger My Story, New York: Harper Collins, 1991

External links[link]

Wikiquote has a collection of quotations related to: Ginger Rogers

Dance portal

• Ginger Rogers at the Internet Movie Database
• Ginger Rogers at the TCM Movie Database
• Ginger Rogers at the Internet Broadway Database
• Ginger Rogers – Appreciations
• Backwards in High Heels: The Ginger Musical
• Ginger Rogers biography from Reel Classics
• John Mueller's 1991 New York Times review of Ginger: My Story
• Photographs and literature