- published: 24 Jul 2006
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Fats Domino | |
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![]() Domino in concert in Germany in 1977 |
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Background information | |
Birth name | Antoine Dominique Domino |
Also known as | Fats, The Fat Man |
Born | (1928-02-26) February 26, 1928 (age 84) New Orleans, Louisiana United States |
Origin | New Orleans, Louisiana United States |
Genres | R&B, rock and roll, piano blues, boogie-woogie |
Occupations | Songwriter, musician |
Instruments | Piano, vocals |
Years active | 1949–present |
Labels | Imperial, ABC, Mercury, Broadmoor, Reprise, Sonet, Warner Bros. Records, Toot Toot |
Antoine Dominique "Fats" Domino Jr. (born February 26, 1928) is an American R&B and rock and roll pianist and singer-songwriter. He was born and raised in New Orleans, Louisiana. Domino was French Creole and Creole was his first language. Domino was delivered at home by his midwife grandmother who was born into enslavement in 1857. Like most families in the Lower Ninth Ward, Domino's family were new arrivals from the sugar and cotton plantations.[1] His father was a well known violinist, and Domino was inspired to play himself. He eventually learned from his Uncle, jazz guitarist Harrison Verrett. [2] Fats released five Gold (million selling) records before 1955.[2] Domino also had 35 Top 40 American Hits and has a music style based on traditional R&B ensembles or Bass, Piano, Electric Guitar, Drums, and Saxophone.[2]
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Domino first attracted national attention with "The Fat Man" in 1949 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a strong back beat. "The Fat Man" sold one million copies by 1953. [3] Fats Domino released a series of hit songs with producer and co-writer Dave Bartholomew, saxophonists Herbert Hardesty and Alvin "Red" Tyler and drummer Earl Palmer. Other notable and long-standing musicians in Domino's band were saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader. Domino finally crossed into the pop mainstream with "Ain't That A Shame" (1955), which hit the Top Ten, though Pat Boone characteristically hit #1 with a milder cover of the song[4] that received wider radio airplay in a racially-segregated era. Domino eventually had 37 Top 40 singles.
Domino's first album, Carry on Rockin', was released under the Imperial imprint, #9009, in November 1955 and subsequently reissued as Rock and Rollin' with Fats Domino in 1956.[5] Combining a number of his hits along with some tracks that had not yet been released as singles,[5] the album went on under its alternate title to reach #17 on the "Pop Albums" chart.[6]
His 1956 up-tempo version of the 1940 Vincent Rose, Al Lewis & Larry Stock song, "Blueberry Hill" reached #2 in the Top 40, was #1 on the R&B charts for 11 weeks, and was his biggest hit.[4] "Blueberry Hill" sold more than 5 million copies worldwide in 1956–57. The song had earlier been recorded by Gene Autry, and Louis Armstrong among many others. He had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop #14), "I'm Walkin'" (Pop #4), "Valley of Tears" (Pop #8), "It's You I Love" (Pop #6), "Whole Lotta Loving" (Pop #6), "I Want to Walk You Home" (Pop #8), and "Be My Guest" (Pop #8).
Domino appeared in two films released in 1956: Shake, Rattle & Rock![7] and The Girl Can't Help It.[8] On December 18, 1957, Domino's hit "The Big Beat" was featured on Dick Clark's American Bandstand.
On November 2, 1956, a riot broke out at Fats Domino's show in Fayetteville, NC, with police resorting to tear gas to break up the unruly crowd. Domino jumped out of a window to avoid the melee; he and two other band members were slightly injured.[9]
Domino continued to have a steady series of hits for Imperial through early 1962, including "Walkin' to New Orleans" (1960) (Pop #6), co-written by Bobby Charles, and "My Girl Josephine" (Pop #14) from the same year. After Imperial Records was sold to outside interests in early 1963, Domino left the label: "I stuck with them until they sold out," he claimed in 1979. In all, Domino recorded over 60 singles for the label, placing 40 songs in the top 10 on the R&B charts, and scoring 11 top 10 singles on the pop charts. Twenty-two of Domino's Imperial singles were double-sided hits.
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis); Domino's long-term collaboration with producer/arranger/frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end.
Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. Perhaps as a result of this tinkering with an established formula, Domino's chart career was drastically curtailed. He released 11 singles for ABC-Paramount, but only had one top 40 entry with "Red Sails In The Sunset" (1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for a variety of other labels: Mercury, Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), and Reprise. His final Top 100 chart single was on Reprise, a cover of The Beatles' "Lady Madonna" which peaked at #100 in 1968. He also continued as a popular live act for several decades.
He made a cameo appearance in the movie Any Which Way You Can, filmed in 1979 and released in 1980, which resulted in a Country Chart hit, "Whiskey Heaven".
In the 1980s, Domino decided he would no longer leave New Orleans, having a comfortable income from royalties and a dislike for touring, and claiming he could not get any food that he liked any place else. His induction into the Rock and Roll Hall of Fame and an invitation to perform at the White House failed to persuade Domino to make an exception to this policy.
Fats Domino was persuaded to perform out of town periodically for Dianna Chenevert, agent, founder and president of New Orleans-based Omni Attractions, during the 1980s and early 1990s. Most of these engagements were in and around New Orleans, but also included a concert in Texas at West End Market Place in downtown Dallas on October 24, 1986.
On October 12, 1983, USA Today reported that Domino was included in Chenevert's Southern Stars poster [10] which was created for the agency (along with historically preserving childhood photographs of other famous living musicians from New Orleans and Louisiana).[11] Domino provided a photograph of his first recording session, which was the only one he had left from his childhood. Domino autographed these posters, whose recipients included USA Today's Gannett president Al Neuharth, and Peter Morton founder of the Hard Rock Cafe. Times-Picayune columnist Betty Guillaud noted on September 30, 1987 that Domino also provided Chenevert with an autographed pair of his shoes [12] (and signed a black grand piano lid) for the Hard Rock location in New Orleans.
Domino lived in a mansion in a predominantly working-class Lower Ninth Ward neighborhood, where he was a familiar sight in his bright pink Cadillac automobile. He makes yearly appearances at the New Orleans Jazz and Heritage Festival and other local events. Domino was awarded the Grammy Lifetime Achievement Award in 1987. Domino's last tour was a three week European Tour in 1995 [13] 1998, President Clinton awarded him the National Medal of Arts.[14] In 2004, Rolling Stone ranked him #25 on their list of the "100 Greatest Artists of All Time."[15]
By the end of his career, Domino was credited with more charted Rock hits than any other classic rock artist except for Elvis Presley [3]
When Hurricane Katrina was approaching New Orleans in August 2005, Dianna Chenevert encouraged Domino to evacuate, but he chose to stay at home with his family, partly because of his wife Rosemary's poor health. His house was in an area that was heavily flooded. Chenevert e-mailed writers at the Times Picayune newspaper and the Coast Guard with the Dominos' location.
Someone thought Domino was dead, and spray-painted a message on his home, "RIP Fats. You will be missed", which was shown in news photos. On September 1, talent agent, Al Embry, announced that he had not heard from the musician since before the hurricane had struck.
Later that day, CNN reported that Domino was rescued by a Coast Guard helicopter. Prior to this, even family members had not heard from Domino since before the storm. [16] Embry confirmed that Domino and his family had been rescued. The Domino family was then taken to a Baton Rouge shelter, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and Fats' granddaughter's boyfriend. He let the Dominos stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.[17]
By January 2006, work to gut and repair Domino's home and office had begun. For the meantime, the Domino family resided in Harvey, Louisiana.
Chenevert replaced the Southern Stars poster[10] Fats Domino lost in Katrina and President George W. Bush also made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Fats. The gold records were replaced by the RIAA and Imperial Records catalog owner Capitol Records.[18]
Domino was the first artist to be announced as scheduled to perform at the 2006 Jazz & Heritage Festival. However, he was too ill to perform when scheduled and was only able to offer the audience an on-stage greeting. Domino also released an album Alive and Kickin' in early 2006 to benefit the Tipitina's Foundation, which supports indigent local musicians. The title song was recorded after Katrina, but most of the cuts were from unreleased sessions in the 1990s.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards held at House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented Fats Domino with a signed declaration. OffBeat publisher Jan Ramsey and WWL-TV's Eric Paulsen presented Fats Domino with the Lifetime Achievement Award. An all-star musical tribute followed with an introduction by the legendary producer Cosimo Matassa. The Lil' Band O' Gold rhythm section, Warren Storm, Kenny Bill Stinson, David Egan and C. C. Adcock, not only anchored the band, but each contributed lead vocals, swamp pop legend Warren Storm leading off with "Let the Four Winds Blow" and "The Prisoner Song," which he proudly introduced by saying, "Fats Domino recorded this in 1958.. and so did I." The horn section included Lil' Band O' Gold's Dickie Landry, the Iguanas' Derek Huston, and long-time Domino horn men Roger Lewis, Elliot "Stackman" Callier and Herb Hardesty. They were joined by Jon Cleary (who also played guitar in the rhythm section), Al "Carnival Time" Johnson, Irma Thomas, George Porter, Jr. (who, naturally, came up with a funky arrangement for "You Keep On Knocking"), Art Neville, Dr. John and Allen Toussaint, who wrote and debuted a song in tribute of Domino for the occasion. Though Domino did not perform, those near him recall him playing air piano and singing along to his own songs.
Fats Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. A foundation has been formed and a show is being planned for Domino and the restoration of his home, where he intends to return someday. "I like it down there" he said in a February, 2006 CBS News interview.[19]
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame. He has also been inducted into the Delta Music Museum Hall of Fame in Ferriday. In December 2007, Fats Domino was inducted into the Hit Parade Hall of Fame.
In May 2009, Domino made an unexpected appearance for The Domino Effect, a namesake concert aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
He was an important influence on the music of the 1960s and 1970s and acknowledged as such by some of the top artists of that era. Paul McCartney reportedly wrote The Beatles song "Lady Madonna" in an emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues," a record Joe Meek engineered.[citation needed] Domino did manage to return to the "Hot 100" charts one final time in 1968—with his own recording of "Lady Madonna." That recording, as well as covers of two other songs by The Beatles, appeared on his Reprise LP Fats Is Back, produced by Richard Perry and recorded by a band that included New Orleans piano player James Booker; Domino played piano only on one track, "I'm Ready." Also was the influence behind the naming of Jamaican ska band Justin Hinds and the Dominoes in the 1960s; Justin's favorite singer being Fats Domino. In 2007, various artists came together for a tribute to Fats Domino by recording a live session with all Fats Domino covers. Guests included on the album, titled "Going Home: A Tribute to Fats Domino" include Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John [20]
Both John Lennon and Paul McCartney later recorded Fats Domino songs. Domino's rhythm, accentuating the offbeat as in the song "Be My Guest," was an influence on ska music.[21]
Nationally charted hits shown in bold.
A-Side | B-Side | Year | Label + Cat. No. | Chart positions | ||
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US Hot 100 | US R&B | UK | ||||
Detroit City Blues | The Fat Man | 1949 | Imperial 5058 | 2 | ||
Boogie-Woogie Baby | Little Bee | 1950 | Imperial 5065 | |||
Hide Away Blues | She's My Baby | 1950 | Imperial 5077 | |||
Hey La Bas Boogie | Brand New Baby | 1950 | Imperial 5085 | |||
Every Night about This Time | Korea Blues | 1950 | Imperial 5099 | 5 | ||
Tired of Crying | What's the Matter Baby | 1951 | Imperial 5114 | |||
Don't You Lie to Me | Sometimes I Wonder | 1951 | Imperial 5123 | |||
Right From Wrong | No, No Baby | 1951 | Imperial 5138 | |||
Rockin' Chair | Careless Love | 1951 | Imperial 5145 | 9 | ||
I'll Be Gone | You Know I Miss You | 1952 | Imperial 5167 | |||
Goin' Home | Reeling and Rocking | 1952 | Imperial 5180 | 30 | 1 | |
Poor Poor Me | Trust in Me | 1952 | Imperial 5197 | 10 | ||
How Long | Dreaming | 1952 | Imperial 5209 | 9 | ||
Nobody Loves Me | Cheatin' | 1953 | Imperial 5220 | |||
Going to the River | Mardi Gras in New Orleans | 1953 | Imperial 5231 | 24 | 2 | |
Please Don't Leave Me | The Girl I Love | 1953 | Imperial 5240 | 3 | ||
Rose Mary | You Said You Loved Me | 1953 | Imperial 5251 | 10 | ||
Something's Wrong | Don't Leave Me This Way | 1953 | Imperial 5262 | 6 | ||
You Done Me Wrong | Little School Girl | 1954 | Imperial 5272 | 10 | ||
Where Did You Stay | Baby Please | 1954 | Imperial 5283 | |||
You Can Pack Your Suitcase | I Lived My Life | 1954 | Imperial 5301 | |||
Love Me | Don't You Hear Me Calling You | 1954 | Imperial 5313 | |||
I Know | Thinking of You | 1954 | Imperial 5323 | 14 | ||
Don't You Know | Helping Hand | April 1955 | Imperial 5340 | 7 | ||
Ain't That a Shame | La La | August 1955 | Imperial 5348 | 10 | 1 | 23 |
All By Myself | Troubles of My Own | September 1955 | Imperial 5357 | 1 | ||
Poor Me | November 1955 | Imperial 5369 | 1 | |||
I Can't Go On | 1955 | Imperial 5369 | 6 | |||
Bo Weevil | April 1956 | Imperial 5375 | 35 | 5 | ||
Don't Blame It on Me | 1956 | Imperial 5375 | 9 | |||
I'm in Love Again | March 1956 | Imperial 5386 | 3 | 1 | 12 | |
My Blue Heaven | 19 | 5 | ||||
When My Dreamboat Comes Home | July 1956 | Imperial 5396 | 14 | 2 | ||
So Long | 44 | 5 | ||||
Blueberry Hill | September 1956 | Imperial 5407 | 2 | 1 | 6 | |
Honey Chile | 2 | 29 | ||||
Blue Monday | December 1956 | Imperial 5417 | 5 | 1 | 23 | |
What's the Reason I'm Not Pleasing You | 50 | 12 | ||||
I'm Walkin' | I'm in the Mood for Love | February 1957 | Imperial 5428 | 4 | 1 | 19 |
The Rooster Song | My Happiness//As Time Goes By//Hey La Bas (4 song EP) | 1957 | Imperial 147 | 13 | ||
Valley of Tears | April 1957 | Imperial 5442 | 8 | 2 | 25 | |
It's You I Love | 6 | 2 | ||||
When I See You | July 1957 | Imperial 5454 | 29 | 14 | ||
What Will I Tell My Heart | 64 | 12 | ||||
Wait and See | September 1957 | Imperial 5467 | 23 | 7 | ||
I Still Love You | 79 | |||||
The Big Beat | December 1957 | Imperial 5477 | 26 | 15 | 20 | |
I Want You to Know | 32 | |||||
Yes My Darling | Don't You Know I Love You | February 1958 | Imperial 5492 | 55 | 10 | |
Sick and Tired | April 1958 | Imperial 5515 | 22 | 14 | 26 | |
No, No | 55 | 14 | ||||
Little Mary | Prisoner's Song | July 1958 | Imperial 5526 | 48 | 4 | |
Young School Girl | It Must Be Love | August 1958 | Imperial 5537 | 92 | 15 | |
Whole Lotta Loving | October 1958 | Imperial 5553 | 6 | 2 | ||
Coquette | 92 | 26 | ||||
Telling Lies | January 1959 | Imperial 5569 | 50 | 13 | ||
When the Saints Go Marching In | 50 | |||||
I'm Ready | April 1959 | Imperial 5585 | 16 | 7 | ||
Margie | Imperial 5585 | 51 | 18 | |||
I Want to Walk You Home | July 1959 | Imperial 5606 | 8 | 1 | 14 | |
I'm Gonna Be a Wheel Someday | 17 | 22 | ||||
Be My Guest | October 1959 | Imperial 5629 | 8 | 2 | 11 | |
I've Been Around | 33 | 19 | ||||
Country Boy | January 1960 | Imperial 5645 | 25 | 19 | ||
If You Need Me | 98 | |||||
Tell Me That You Love Me | April 1960 | Imperial 5660 | 51 | |||
Before I Grow Too Old | 84 | 17 | ||||
Walking to New Orleans | June 1960 | Imperial 5675 | 6 | 2 | 19 | |
Don't Come Knockin' | 21 | 28 | ||||
Three Nights a Week | August 1960 | Imperial 5687 | 15 | 8 | 45 | |
Put Your Arms Around Me Honey | 58 | |||||
My Girl Josephine | October 1960 | Imperial 5704 | 14 | 7 | 32 | |
Natural Born Lover | 38 | 28 | ||||
Ain't That Just Like a Woman | January 1961 | Imperial 5723 | 33 | 19 | ||
What a Price | 22 | 7 | ||||
Shu Rah | March 1961 | Imperial 5734 | 32 | |||
Fell in Love on Monday | 32 | |||||
It Keeps Rainin' | I Just Cry | May 1961 | Imperial 5753 | 23 | 18 | 49 |
Let The Four Winds Blow | Good Hearted Man | July 1961 | Imperial 5764 | 15 | 2 | |
What A Party | September 1961 | Imperial 5779 | 22 | 43 | ||
Rockin' Bicycle | 83 | |||||
I Hear You Knocking | November 1961 | Imperial 5796 | 67 | |||
Jambalaya (On the Bayou) | 30 | 41 | ||||
You Win Again | February 1962 | Imperial 5816 | 22 | |||
Ida Jane | 90 | |||||
My Real Name | My Heart Is Bleeding | May 1962 | Imperial 5833 | 59 | 22 | |
Dance with Mr. Domino | July 1962 | Imperial 5863 | 98 | |||
Nothing New (Same Old Thing) | 77 | |||||
Did You Ever See a Dream Walking | September 1962 | Imperial 5875 | 79 | |||
Stop the Clock | 103 | |||||
Won't You Come on Back | Hands Across the Table | November 1962 | Imperial 5895 | |||
Hum Diddy Doo | Those Eyes | January 1963 | Imperial 5909 | 124 | ||
You Always Hurt the One You Love | Trouble Blues | March 1963 | Imperial 5937 | 102 | ||
True Confession | Isle of Capri | May 1963 | Imperial 5959 | |||
One Night | I Can't Go on This Way | 1963 | Imperial 5980 | |||
There Goes (My Heart Again) | May 1963 | ABC 10444 | 59 | |||
Can't Go on Without You | 123 | |||||
When I'm Walking (Let Me Walk) | July 1963 | ABC 10475 | 114 | |||
I've Got a Right to Cry | 128 | |||||
Red Sails in the Sunset | Song For Rosemary | 1963 | ABC 10484 | 35 | 24 | 34 |
I Can't Give You Anything But Love | Goin' Home | August 1963 | Imperial 66005 | 114 | ||
Who Cares | 1963 | ABC 10512 | 63 | 27 | ||
Just a Lonely Man | 1963 | ABC 10512 | 108 | |||
Your Cheatin' Heart | When I Was Young | 1964 | Imperial 66016 | 112 | ||
Lazy Lady | 1964 | ABC 10531 | 86 | 34 | ||
I Don't Want to Set the World on Fire | 1964 | ABC 10531 | 122 | |||
If You Don't Know What Love Is | Something You Got Baby | 1964 | ABC 10545 | |||
Mary, Oh Mary | Packin' Up | 1964 | ABC 10567 | 127 | ||
Sally Was a Good Old Girl | For You | 1964 | ABC 10584 | 99 | ||
Kansas City | Heartbreak Hill | 1964 | ABC 10596 | 99 | ||
Why Don't You Do Right | Wigs | 1965 | ABC 10631 | |||
Let Me Call You Sweetheart | Goodnight Sweetheart | 1965 | ABC 10644 | |||
I Done Got Over It | I Left My Heart In San Francisco | 1965 | Mercury 72463 | |||
What's That You Got? | It's Never Too Late | 1965 | Mercury 72485 | |||
The Lady in Black | Working My Way Up Steady | 1967 | Broadmoor 104 | |||
Big Mouth | Wait 'Til It Happens to You | 1967 | Broadmoor 105 | |||
One For The Highway | Honest Papas Love Their Mamas Better | 1968 | Reprise 0696 | |||
Lady Madonna | One for the Highway | 1968 | Reprise 0763 | 100 | ||
Lovely Rita | Wait 'Till It Happens to You | 1968 | Reprise 0775 | |||
Everybody's Got Something to Hide Except Me and My Monkey | So Swell When You're Well | 1969 | Reprise 0843 | |||
Make Me Belong to You | Have You Seen My Baby | 1970 | Reprise 0891 | |||
New Orleans Ain't the Same | Sweet Patootie | 1970 | Reprise 0944 | |||
Sleeping on the Job | After Hours | 1978 | Sonet 2168 -UK | |||
Whiskey Heaven | -- | 1980 | Warner Bros. 49610 |
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Wikimedia Commons has media related to: Fats Domino |
Persondata | |
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Name | Domino, Fats |
Alternative names | |
Short description | |
Date of birth | February 26, 1928 |
Place of birth | New Orleans, Louisiana United States |
Date of death | |
Place of death |
Ricky Nelson | |
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Background information | |
Birth name | Eric Hilliard Nelson |
Born | (1940-05-08)May 8, 1940 Teaneck, New Jersey, U.S. |
Died | December 31, 1985(1985-12-31) (aged 45) De Kalb, Texas, U.S. |
Genres | Rockabilly, rock 'n' roll, pop, folk, country |
Occupations | Actor, musician, singer |
Years active | 1949-1985 |
Labels | Imperial, Decca (MCA), Epic |
Associated acts | Elvis Presley, The Everly Brothers, Fats Domino, Connie Francis, Carl Perkins, James Burton |
Website | http://www.rickynelson.com/ |
Eric Hilliard Nelson (May 8, 1940 – December 31, 1985), better known as Ricky Nelson or Rick Nelson, was an American singer-songwriter, instrumentalist, and actor. He placed 53 songs on the Billboard Hot 100 between 1957 and 1973 including "Poor Little Fool", which holds the distinction of being the first #1 song on Billboard magazine's then newly created Hot 100 chart. He recorded nineteen additional top-ten hits,[1] and was inducted into the Rock and Roll Hall of Fame on January 21, 1987.[2]
Nelson began his entertainment career in 1949 playing himself in the radio sitcom series, The Adventures of Ozzie and Harriet, and, in 1952, appeared in his first feature film, Here Come the Nelsons. In 1957, he recorded his first single, debuted as a singer on the television version of the sitcom, and recorded a number one album, Ricky. In 1958, Nelson recorded his first number one single, "Poor Little Fool", and, in 1959, received a Golden Globe Most Promising Male Newcomer nomination after starring in the western film, Rio Bravo. A few films followed, and, when the television series was cancelled in 1966, Nelson made occasional appearances as a guest star on various television programs.
Nelson and Sharon Kristin Harmon were married on April 20, 1963, and divorced in December 1982. They had four children: Tracy Kristine, twin sons Gunnar Eric and Matthew Gray, and Sam Hilliard. On February 14, 1981, a son (Eric Crewe) was born to Nelson and Georgeann Crewe. A blood test in 1985 confirmed Nelson was the child's father. Nelson was engaged to Helen Blair at the time of his death in an airplane crash on December 31, 1985.
In 1996, Ricky Nelson was ranked #49 on TV Guide's 50 Greatest TV Stars of All Time.[3]
Contents |
Ricky Nelson was born on May 8, 1940 at 1:25 p.m. at Holy Name Hospital in Teaneck, New Jersey.[4][5][6] He was the second son of big band leader Ozzie Nelson, who was of half Swedish descent, and his wife, big band vocalist Harriet Hilliard Nelson (née Peggy Louise Snyder). Harriett remained in Englewood, New Jersey with her newborn and her older son David while Ozzie toured the nation with the Nelson Orchestra.[7] The Nelsons bought a two-story Colonial in Tenafly, New Jersey,[7][8] and six months after the purchase, moved with son David to Hollywood, California where Ozzie and Harriet were slated to appear in the 1941-42 season of Red Skelton's The Raleigh Cigarette Hour; Ricky remained in Tenafly in the care of his paternal grandmother.[9] In November 1941, the Nelsons bought what would become their permanent home: a green and white, two-story, Cape Cod Colonial at 1822 Camino Palmero in Los Angeles.[10][11] Ricky joined his parents and brother in Los Angeles in 1942.[10]
Ricky was a small and insecure child who suffered from severe asthma. At night, his sleep was eased with a vaporizer emitting tincture of evergreen.[12] He was described by Red Skelton's producer John Guedel as "an odd little kid," likable, shy, introspective, mysterious, and inscrutable.[13] When Skelton was drafted in 1944, Guedel crafted the radio sitcom, The Adventures of Ozzie and Harriet, for Ricky's parents.[13][14] The show debuted on Sunday, October 8, 1944 to favorable reviews.[15][16] Ozzie eventually became head writer for the show and based episodes on the fraternal exploits and enmity of his sons.[17] The Nelson boys were first played in the radio series by professional child actors until twelve-year-old Dave and eight-year-old Ricky joined the show on February 20, 1949 in the episode, "Invitation to Dinner."[18][19]
In 1952, the Nelsons tested the waters for a television series with the theatrically released film, Here Come the Nelsons. The film was a hit and Ozzie was convinced the family could make the transition from radio's airwaves to television's small screen. On October 3, 1952, The Adventures of Ozzie and Harriet made its television debut and was broadcast in first run until September 3, 1966 to become one of the longest running sitcoms in television history.
Nelson attended Gardner Street Public School,[20] Bancroft Junior High,[21] and Hollywood High School between 1954 and 1958 from which he graduated with a B average.[22][23][24] He played football at Hollywood High[22][23] and represented the school in interscholastic tennis matches.[25] Twenty-five years later, Nelson told the Los Angeles Weekly he hated school because it "smelled of pencils" and he was forced to rise early in the morning to attend.[22]
At Hollywood High, Nelson was blackballed by the Elksters, a fraternity of a dozen conservative sports-loving teens who thought him too wild.[26][27] Many of the Elksters were family friends and spent weekends at the Nelson home playing basketball or relaxing around the pool.[27] In retaliation, he joined the Rooks, a greaser car club of sideburned high school teens clad in leather jackets and motorcycle boots.[27][28] He tattooed his hands, wrist, and shoulder with India ink and a sewing needle, slicked his hair with oil, and accompanied the Rooks on nocturnal forays along Hollywood Boulevard randomly harassing and beating up passersby.[27][28] Nelson was jailed twice in connection with incidents perpetrated by the Rooks, and escaped punishment after sucker-punching a police officer only through the intervention of his father.[28] Nelson's parents were alarmed. Their son's juvenile delinquency did little to enhance the All-American image of Ozzie and Harriet and they quickly put an end to Ricky's involvement with the Rooks by banishing one of the most influential of the club's members from Ricky's life and their home.[25]
Ozzie Nelson was a Rutgers alumnus and keen on college education,[29] but eighteen-year-old Ricky was already in the 93-percent income-tax bracket and saw no reason to attend.[23] At thirteen, Ricky was making over $100,000 per annum and, at sixteen he had a personal fortune of $500,000.[30] Nelson's wealth was astutely managed by parents who channeled his earnings into trust funds. Although his parents permitted him a $50 allowance at the age of eighteen, Rick was often strapped for cash, and, one evening, collected and redeemed empty pop bottles to gain entrance to a movie theater for himself and a date.[31] Accustomed to affluence, Nelson had a cavalier attitude about money and never managed his finances very well.[26]
Nelson played clarinet and drums in his tweens and early teens, learned the rudimentary guitar chords, and vocally imitated his favorite Sun Records rockabilly artists in the bathroom at home or in the showers at the Los Angeles Tennis Club.[32][33][34] He was strongly influenced by the music of Carl Perkins and once said he tried to emulate the sound and the tone of the guitar break in Perkins' March 1956 Top Ten hit, "Blue Suede Shoes".[33][34]
At sixteen, he wanted to impress a friend who was an Elvis Presley fan, and, although he had no record contract at the time, told her that he, too, was going to make a record.[32][35][36][37] With his father's help, he secured a one-record deal with Verve Records, an important jazz label looking for a young and popular personality who could sing or be taught to sing.[36][37][38][39] On March 26, 1957, he recorded the Fats Domino standard "I'm Walkin'" and "A Teenager's Romance" (released in late April 1957 as his first single), and "You're My One and Only Love".[39][40]
Before the single was released, he made his television rock and roll debut on April 10, 1957 lip-synching "I'm Walkin'" in the Ozzie and Harriet episode, "Ricky, the Drummer".[41][42] About the same time, he made an unpaid public appearance as a singer at a Hamilton High School lunch hour assembly in Los Angeles with the Four Preps and was greeted by hordes of screaming teens who had seen the television episode.[43][44]
"I'm Walkin'" reached #4 on Billboard's Best Sellers in Stores chart, and its flip side, "A Teenager's Romance", hit #2.[36][44] When the television series went on summer break in 1957, Nelson made his first road trip and played four state and county fairs in Ohio and Wisconsin with the Four Preps who opened and closed for him.[45]
In early summer 1957, Ozzie Nelson pulled his son from Verve after disputes about royalties, and signed him to a lucrative five-year deal with Imperial Records that gave him approval over song selection, sleeve artwork, and other production details.[46][47] Ricky's first Imperial single, "Be-Bop Baby", generated 750,000 advance orders, sold over one million copies, and reached number three on the charts. Nelson's first album, Ricky, was released in October 1957 and hit number one before the end of the year.[48] Following these successes, Nelson was given a more prominent role on the Ozzie and Harriet show and ended every two or three episodes with a musical number.[49]
Nelson grew increasingly dissatisfied performing with older jazz session musicians who were openly contemptuous of rock and roll. After his Ohio and Minnesota tours in the summer of 1957, he decided to form his own band with members closer to his age.[50] Eighteen-year-old electric guitarist James Burton was the first signed and lived in the Nelson home for two years.[51] Bassist James Kirkland, drummer Richie Frost, and pianist Gene Garf completed the band.[52] Their first recording together was "Believe What You Say". Rick selected material from demo acetates submitted by songwriters. Ozzie Nelson forbade suggestive lyrics or titles, and his late-night arrival at recording sessions forced band members to hurriedly hide their beers and cigarettes. The Jordanaires, Elvis Presley's back-up vocalists, worked for Nelson but at Presley's behest were not permitted credit on Nelson's albums.
In 1958, Nelson recorded seventeen-year-old Sharon Sheeley's "Poor Little Fool" for his second album Ricky Nelson released in June.[53][54] Radio airplay brought the tune notice and Imperial suggested releasing a single; but Nelson opposed the idea, believing a single would diminish EP sales. When a single was released nonetheless, he exercised his contractual right to approve any artwork and vetoed a picture sleeve.[53][55] On August 4, 1958, "Poor Little Fool" became the number one single on Billboard's newly instituted Hot 100 singles chart,[56][57] and sold over two million copies.[53] Nelson so loathed the song he refused to perform it on Ozzie and Harriet.[53] Sheeley claimed he ruined her song by slowing the tempo.[56] More generally, Nelson stated
“ | Anyone who knocks rock 'n' roll either doesn't understand it, or is prejudiced against it, or is just plain square. | ” |
During 1958 and 1959, Nelson placed twelve hits on the charts in comparison with Presley's eleven (it should be remembered that the latter was then serving in Germany with the U.S. Army). During the sitcom's run, Ozzie Nelson, either to keep his son's fans tuned in or as an affirmation of his reputed behind-the-scenes persona as a controlling personality, kept his son from appearing on other television shows that could have enhanced his public profile, American Bandstand and The Ed Sullivan Show in particular.[56] In the summer of 1958, Nelson conducted his first full-scale tour, and averaged $5,000 nightly. By 1960, the Ricky Nelson International Fan Club had 9,000 chapters around the world.[59]
“ | Perhaps the most embarrassing moment in my career was when six girls tried to fling themselves under my car, and shouted to me to run over them. That sort of thing can be very frightening! | ” |
NME - May 1960[60]
Nelson was the first teen idol to utilize television to promote hit records. Ozzie Nelson even had the idea to edit footage together to create some of the first music videos. This creative editing can be seen in videos Ozzie produced for "Travelin' Man."[citation needed] Nelson finally did appear on the Sullivan show in 1967, but his career by that time was in limbo. He also appeared on other television shows (usually in acting roles). In 1973, he had an acting role in an episode of The Streets of San Francisco, in which he played the part of a hippie flute-playing leader of a harem of young prostitutes. In 1979, he guest-hosted on Saturday Night Live, in which he spoofed his television sitcom image by appearing in a Twilight Zone send-up, in which, always trying to go "home", he finds himself among the characters from other 1950s/early 1960s-era sitcoms, Leave It to Beaver, Father Knows Best, Make Room for Daddy, and I Love Lucy.
Nelson knew and loved music, and was a skilled performer even before he became a teen idol, largely because of his parents' musical background. Nelson worked with many musicians of repute, including James Burton, Joe Osborn, and Allen "Puddler" Harris, all natives of Louisiana, and Joe Maphis, The Jordanaires, Scotty Moore and Johnny and Dorsey Burnette.
From 1957 to 1962, Nelson had 30 Top-40 hits, more than any other artist except Presley (who had 53) and Pat Boone (38). Many of Nelson's early records were double hits with both the A and B sides hitting the Billboard charts.
While Nelson preferred rockabilly and uptempo rock songs like "Believe What You Say" (Hot 100 #4), "I Got a Feeling" (#10), "My Bucket's Got a Hole in It" (#12), "Hello Mary Lou" (#9), "It's Late" (#9), "Stood Up" (#2), "Waitin' in School" (#18), "Be-Bop Baby" (#3), and "Just a Little Too Much" (#9), his smooth, calm voice made him a natural to sing ballads. He had major success with "Travelin' Man" (#1), "A Teenager's Romance" (#2), "Poor Little Fool" (#1), "Young World" (#5), "Lonesome Town" (#7), "Never Be Anyone Else But You" (#6), "Sweeter Than You" (#9), "It's Up to You" (#6), and "Teenage Idol" (#5), which clearly could have been about Nelson himself.
In addition to his recording career, Nelson appeared in movies, including the Howard Hawks western classic Rio Bravo with John Wayne and Dean Martin (1959), plusThe Wackiest Ship In the Army (1960) and Love and Kisses (1965).
On May 8, 1961 (his 21st birthday), he officially modified his recording name from "Ricky Nelson" to "Rick Nelson". (However, not too long before his untimely death, he realized a dream of his. He met his idol, Carl Perkins, who, while musing that they were the last of the "rockabilly breed", addressed him as "Ricky".) In 1963, Nelson signed a 20-year contract with Decca Records. After some early successes with the label, most notably 1964's "For You" (#6), Nelson's chart career came to a dramatic halt in the wake of The British Invasion.
In the mid-1960s, Nelson began to move towards country music, becoming a pioneer in the country-rock genre. He was one of the early influences of the so-called "California Sound" (which would include singers like Jackson Browne and Linda Ronstadt and bands like the Eagles). Yet Nelson himself did not reach the Top 40 again until 1970, when he recorded Bob Dylan's "She Belongs to Me" with the Stone Canyon Band, featuring slide guitarist Ric Mix.
In 1972, Nelson reached the Top 40 one last time with "Garden Party", a song he wrote in disgust after a Madison Square Garden audience booed him, because, in his mind, he was playing new songs instead of just his old hits. When he performed the Stones' "Honky Tonk Woman" he was booed off the stage. He watched the rest of the performance on a TV monitor backstage and quietly left the Madison Garden without taking a final bow for the finale. He wanted to record an album featuring original material, but the single was released before the album because Nelson had not completed the entire Garden Party album yet. "Garden Party" reached number 6 on the Billboard Hot 100 and number 1 on the Billboard Adult Contemporary chart and was certified as a gold single. The second single release from the album was "Palace Guard", which reached number 65 in the charts.
Nelson was with MCA at the time, and his comeback was short-lived. Nelson's band soon resigned, and MCA wanted Nelson to have a producer on his next album. His band moved to Aspen and changed their name to "Canyon". Nelson soon put together a new Stone Canyon Band and began to tour for the Garden Party album. Nelson still played nightclubs and bars, but soon advanced to higher-paying venues because of the success of Garden Party. In 1974 MCA was at odds as to what to do with the former teen idol. Albums like Windfall failed to have an impact. Nelson became an attraction at theme parks like Knott's Berry Farm and Disneyland. He also started appearing in minor roles on television shows.
Nelson tried to score another hit, but did not have any luck with songs like "Rock and Roll Lady". With seven years to go on his contract, MCA dropped him from the label.
Nelson studied karate, earning a brown belt before going on to learn Jeet Kune Do under Dan Inosanto. Inosanto described Nelson as a "good martial artist for those times".[61]
In 1957, Nelson was seventeen when he met and fell in love with Marianne Gaba, who played the role of Ricky's girlfriend in three episodes of Ozzie and Harriet.[62][63] Nelson and Gaba were too young to entertain a serious relationship although, according to Gaba, "we used to neck for hours."[64][65] The next year, Nelson fell in love with 15-year-old Lorrie Collins, a country singer appearing on a weekly telecast called Town Hall Party.[66][67] The two wrote Nelson's first composition, the song "My Gal", and she introduced him to Johnny Cash and Tex Ritter. Collins appeared in an Ozzie and Harriet episode as Ricky's girlfriend and sang "Just Because" with him in the musical finale.[68] They went steady and discussed marriage, but their parents discouraged the idea.[68][69]
At the age of 45, Nelson said the only girl he ever really loved was involved with him for two years in the late 1950s. After she became pregnant and had a nearly fatal abortion, she married another man.[70][71]
At Christmas 1961, Nelson began dating Sharon Kristin "Kris" Harmon (born June 25, 1945), the daughter of football legend Tom Harmon and actress Elyse Knox (née Elsie Kornbrath), and the older sister of Kelly and Mark.[72][73] The Nelsons and the Harmons had long been friends and a union between their children held great appeal.[74] Rick and Kris had much in common: quiet dispositions, Hollywood upbringings, and high-powered, domineering fathers.[75]
They married on April 20, 1963. Kris was pregnant,[76] and Rick later described the union as a "shotgun wedding".[77] Nelson, a non-practicing Protestant, received instruction in Catholicism at the insistence of the bride's parents,[77][78] and signed a pledge to have any children of the union baptized in the Catholic faith.[76] Kris Nelson joined the television show as a regular cast member in 1963.[71][79] They had four children: actress Tracy Kristine Nelson, twin sons Gunnar Eric Nelson and Matthew Gray Nelson who formed the band Nelson, and Sam Hilliard Nelson.
Following the birth of their last child, the marriage deteriorated by 1975, and a very public controversial divorce involving both families was covered in the press for several years. In October 1977, Kris filed for divorce and asked for alimony, custody of their four children, and a portion of community property. The couple temporarily resolved their differences but Kris retained her attorney to pursue a permanent break.[80] Kris was contentious and jealous. Both spent enormous sums of money: Kris on parties, Rick on renting a private Lear jet.[81] Nelson had a tremendous sexual appetite and a casual attitude toward sex, once estimating he had had sex with thousands of women.[82] Kris wanted Rick to give up music, spend more time at home, and focus on acting, but the family enjoyed a recklessly expensive lifestyle, and Kris's extravagant spending left Rick no choice but to tour relentlessly.[83] The impasse over Rick's career created unpleasantness at home. Kris became an alcoholic and left the children in the care of household help.[84] After years of legal proceedings, they were divorced in December 1982. The divorce was financially devastating for Nelson with attorneys and accountants taking over $1 million.[85] Years of legal wrangling followed.[86][87]
On May 16, 1980, Nelson met Georgeann Crewe at the Playboy Resort in Great Gorge, New Jersey.[88][89] Crewe later claimed she felt "an attachment, an immediate attraction" to Nelson.[88][89] Crewe unsuccessfully attempted to contact Nelson several times to let him know that she was pregnant, and on March 25, 1981, she gave birth to Nelson's son, Eric Jude Crewe.[88] In 1985, a blood test confirmed Nelson was the father,[88] but Nelson was not interested in Crewe or their son. He declined to meet with them to the point that he avoided playing concerts in Atlantic City. Although Nelson agreed to provide $400 a month in child support, he did not provide for the child in his will.[90]
In 1980, Nelson met Helen Blair, a part-time model and exotic animal trainer, in Las Vegas.[91] Within months of their meeting, she became his road companion, and, in 1982, moved in with him. She was the only woman he dated after his divorce.[91][92]
Blair tried to make herself useful in Nelson's life by organizing his day and acting as a liaison for his fan club,[91] but Nelson's mother, brother, business manager, and manager disapproved of her presence in his life.[93] He contemplated marrying her, but eventually declined.[94] Blair died with Nelson in the airplane fire. Her name was never mentioned at Nelson's funeral.[95] Blair's parents wanted their daughter buried next to Nelson at Forest Lawn Cemetery but Harriet Nelson dismissed the idea.[96] The Blairs refused to bury Helen's remains and filed a $2 million wrongful death suit against Nelson's estate.[95] They received a small settlement. Nelson did not provide for Blair in his will.[90]
Nelson used marijuana early in his musical career, and became a regular user. He buried his stash in his yard. He supported marijuana's legalization. He tried mescaline, was a regular cocaine user and carried the drug in an empty ginseng capsule.[97][98]
During the Nelson divorce proceedings, Rick was accused by his wife's attorney of using cocaine, quaaludes, and other drugs, and of having "a severe drug problem" encouraged by his managers, his entourage, and his groupies. The attorney noted that Nelson's "personal manager" secured drugs for Nelson, wild parties took place in Nelson's home whether he was present or not, and his children, aware of his drug use, were in great physical danger from drugged persons entering and exiting the house at all hours.[99] Following Nelson's divorce, while he was involved with Helen Blair, his drug use grew so dire friends urged him to seek treatment for substance abuse.[100]
Nelson dreaded flying but refused to travel by bus. In May 1985, he decided he needed a private plane and leased a luxurious, fourteen-seat, 1944 Douglas DC-3 for private use that once belonged to the DuPont family and later to Jerry Lee Lewis. The plane's history was plagued with annoying mechanical issues.[101] In one incident, the band was forced to push the plane off the runway after an engine blew, and in another incident in September, a malfunctioning magneto prevented Nelson from participating in the first Farm Aid concert in Champaign, Illinois.
On 26 December 1985, Nelson and the band left for a three-stop tour of the Southern United States. Following shows in Orlando, Florida and Guntersville, Alabama, Nelson and band members boarded the DC-3 in Guntersville and took off for a New Year's Eve extravaganza in Dallas, Texas.[102] The plane crash-landed northeast of Dallas in De Kalb, Texas less than 2 miles from a landing strip at approximately 5:14 p.m. CST on 31 December 1985, impacting trees as it came to earth. Seven of the nine occupants were killed: Nelson and his fiancée, Helen Blair; bass guitarist Patrick Woodward; drummer Rick Intveld; keyboardist Andy Chapin; guitarist Bobby Neal; and road manager/soundman Donald Clark Russell. Pilots Ken Ferguson and Brad Rank escaped via cockpit windows, though Ferguson was severely burned.
Nelson's remains were lost in transit from Texas to California, delaying the funeral for several days. On 6 January 1986, 250 mourners entered the Church of the Hills for funeral services while 700 fans gathered outside. Attendees included 'Colonel' Tom Parker, Connie Stevens, Angie Dickinson, and dozens of actors, writers, and musicians. Nelson was privately buried days later in the Forest Lawn, Hollywood Hills Cemetery in Los Angeles, California. Kris Nelson threatened to sue the Nelson clan for her former husband's life insurance money and tried to wrest control of his estate from David Nelson, its administrator. Her bid was rejected by a Los Angeles Superior Court Judge. Nelson bequeathed his entire estate to his children and did not provide for Eric Crewe, Helen Blair, or Kris Nelson. Only days after the funeral, rumors and newspaper reports suggested cocaine freebasing was one of several possible causes for the plane crash. Those allegations were refuted by the National Transportation Safety Board (NTSB).[103]
The reports vary as to whether or not the plane was on fire before it crashed. According to witnesses, the plane appeared to be on fire before it force-landed. Jim Burnett, then-Chairman of the NTSB, however, said that even though the plane was infested with smoke, the plane landed and came to a stop before it was swallowed by flames.[104] The NTSB conducted a year-long investigation and finally stated that, while the definitive cause was still unknown, the crash was probably due to a gas-fueled heater that reportedly had caused in-flight problems.[105]
When questioned by the NTSB, Pilots Brad Rank and Ken Ferguson had diversely different accounts of key events. According to co-pilot Ferguson, the cabin heater was acting up after the plane took off. Ferguson continued that Rank kept going back to the back of the plane to see if he could get the heater to function correctly and that Rank told Ferguson several times to turn the heater back on. "One of the times, I refused to turn it on," said Ferguson. He continued, "I was getting more nervous. I didn't think we should be messing with that heater en-route." After the plane crashed, Ferguson and Rank climbed out the windows, suffering from extensive burns. They shouted to the passenger cabin, but there was no response. Ferguson and Rank backed away from the plane, fearing explosion. Ferguson stated that Rank told him, "Don't tell anyone about the heater, don't tell anyone about the heater."[106]
Pilot Rank, however, told a different story: Rank said that he was checking on the passengers when he noticed smoke in the middle of the cabin, where Rick Nelson and Helen Blair were sitting. Even though he never mentioned a problematic heater, Rank stated that he went to the rear of the plane to check the heater, saw no smoke, and found the heater was cool to the touch. After activating an automatic fire extinguisher and opening the cabin's fresh air inlets, Rank said that he returned to the cockpit where Ferguson was already asking traffic controllers for directions to the nearest airfield.[106]
Rank was criticized by the NTSB for not following the in-flight fire checklist; opening the fresh air vents instead of leaving them closed, not instructing the passengers to use supplemental oxygen, and not attempting to fight the fire with the hand-held fire extinguisher that was in the cockpit. The board said that while these steps might not have prevented the crash, "they would have enhanced the potential for survival of the passengers."[107] The words of the NTSB seem to echo that of firefighter, Lewis Glover, who was one of the first on the scene. Glover stated, "All the bodies are there at the front of the plane. Apparently, they were trying to escape the fire."[108]
An examination indicated that a fire had originated in the right side of the aft cabin area at or near the floor line. Some reports said the passengers were killed when the aircraft struck obstacles during the forced landing. The ignition and fuel sources of the fire could not be determined. According to another report, the pilot indicated that the crew tried to turn on the gasoline cabin heater repeatedly shortly before the fire occurred, but that it failed to respond. After the fire, the access panel to the heater compartment was found unlatched. The theory is supported by records that showed that DC-3s in general, and this aircraft in particular, had a history of problems with the cabin heaters.
Nelson was inducted into the Rock and Roll Hall of Fame in 1987, and to the Rockabilly Hall of Fame. He has a star on the Hollywood Walk of Fame at 1515 Vine Street.
Along with the recording's other participants, Nelson earned the 1987 Grammy Award for Best Spoken Word Album for "Interviews from the Class of '55 Recording Sessions."
In 2004, Rolling Stone ranked Nelson number 91 on their list of the 100 Greatest Artists of All Time.[109]
At the 20th anniversary of Nelson's death, PBS televised Ricky Nelson Sings, a documentary featuring interviews with his children, James Burton, and Kris Kristofferson. On December 27, 2005, EMI Music released an album titled Ricky Nelson's Greatest Hits that peaked at number 56 on the Billboard 200 album chart.
Bob Dylan wrote about Nelson's influence on his music in his 2004 memoir, "Chronicles, Vol. 1".
Nelson's estate (The Rick Nelson Company, LLC) owns ancillary rights to the Ozzie and Harriet television series, and, in 2007, Shout! Factory released official editions of the show on DVD. Also in 2007, Nelson was inducted into the Hit Parade Hall of Fame.
John Frusciante song "Ricky" was inspired by Ricky Nelson.
For the 25th anniversary of Nelson's death, Rock and Roll Hall of Famer James Burton, Nelson's original guitarist for nearly ten years, spoke about his friendship and experiences with the singer in an extensive series of interviews for Examiner.com. The first installment is entitled "Remembering Rick Nelson: An Interview With His Friend, Guitarist James Burton."
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Wikimedia Commons has media related to: Ricky Nelson |
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Persondata | |
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Name | Nelson, Ricky |
Alternative names | Nelson, Eric Hilliard |
Short description | Actor, Musician, Singer |
Date of birth | May 8, 1940 |
Place of birth | Teaneck, New Jersey, U.S. |
Date of death | December 31, 1985 |
Place of death | De Kalb, Texas, U.S. |
Perry Como | |
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Perry Como on The Perry Como Show set, 1956. |
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Background information | |
Birth name | Pierino Ronald Como |
Born | (1912-05-18)May 18, 1912 Canonsburg, Pennsylvania, U.S. |
Died | May 12, 2001(2001-05-12) (aged 88) Jupiter Inlet Colony, Florida, U.S. |
Genres | Easy Listening, Adult Contemporary, Pop, Big Band, Jazz, Latin, Swing, Country, Rock and Roll, Religious music |
Instruments | Vocalist |
Years active | 1933–1998 |
Labels | Decca, RCA Victor |
Associated acts | Freddy Carlone Orchestra Ted Weems Orchestra |
Pierino Ronald "Perry" Como (May 18, 1912 – May 12, 2001) was an American singer and television personality. During a career spanning more than half a century he recorded exclusively for the RCA Victor label after signing with them in 1943.[1] "Mr. C.", as he was nicknamed, sold millions of records for Radio Corporation of America (RCA) and pioneered a weekly musical variety television show, which set the standards for the genre and proved to be one of the most successful in television history. Como was seen weekly on television from 1949 to 1963, then continued hosting the Kraft Music Hall variety program on a monthly basis until 1967.[2][3][4] His television shows and seasonal specials were broadcast throughout the world.[5][6] Also a popular recording artist, Perry Como produced numerous hit records with record sales so high the label literally stopped counting at Como's behest.[7] His combined success on television and popular recordings was not matched by any other artist of the time.[8] Como's appeal spanned generations and he was widely respected for both his professional standards and the conduct in his personal life. In the official RCA Records Billboard magazine memorial, his life was summed up in these few words: "50 years of music and a life well lived. An example to all."[9] Composer Ervin Drake said of him, "... [o]ccasionally someone like Perry comes along and won't 'go with the flow' and still prevails in spite of all the bankrupt others who surround him and importune him to yield to their values. Only occasionally."[10]
One of the many factors in his success was Como's insistence on his principles of good taste; if he considered something to be in bad or poor taste, it was not in the show or broadcast.[11][12] When a remark made by Julius La Rosa about television personality Arthur Godfrey on The Perry Como Show was misconstrued, Como offered an on-air apology at the beginning of his next show, against the advice of his staff.[13][14][15] While his performance of "Ave Maria" was a tradition of his holiday television programs, Como refused to sing it at live performances, saying, "It's not the time or place to do it", even though it was the number one request of his audiences.[16][17] Another was his naturalness; the man viewers saw on the screen was the same person who could be encountered behind a supermarket shopping cart, at a bowling alley, or in a kitchen making breakfast.[18][19][20] From his first Chesterfield Supper Club television show, if scripts were written at all, they were based on the way Como would say something.[12][21] Como was not devoid of a temper, and it could be seen at times as a result of the frustrations of daily life. His music director from 1948 – 1963, Mitchell Ayres, said, "Perry has a temper like everyone else. And he loses his temper at the normal things everyone else does. When we're driving, for instance, and somebody cuts him off, he really lets the offender have it."[22][23]
Como received the 1959 Grammy Award for Best Vocal Performance, Male, five Emmys from 1955 to 1959,[24] a Christopher Award (1956) and shared a Peabody Award with good friend Jackie Gleason in 1956.[25][26] He was inducted into the Academy of Television Arts & Sciences Hall of Fame in 1990[27][28][29] and received a Kennedy Center Honor in 1987.[30] Posthumously, Como received the Grammy Lifetime Achievement Award in 2002;[31] he was inducted into the Long Island Music Hall of Fame in 2006 and the Hit Parade Hall of Fame in 2007.[32][33] Como has the distinction of having three stars on the Hollywood Walk of Fame for his work in radio, television, and music.[34]
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Como was born in Canonsburg, Pennsylvania.[35] He was the seventh of the 13 children of Pietro Como (1877–1945),[27] and Lucia Travaglini (1883–1961),[36][37] who both emigrated to the US in 1910 from the Abruzzese town of Palena, Italy.[38][39][40] Perry was the first of their children born in the United States.[40] He did not begin speaking English until he entered school, since the Comos spoke Italian at home.[41] The family had a second-hand organ Pietro had bought for $3; as soon as Perry was able to toddle, he would head to the instrument, pump the bellows, and play music he had heard by ear.[42] His father, a mill hand and an amateur baritone, had all his children attend music lessons even if he could barely afford them.[43] In a rare 1957 interview, Como's mother, Lucia, described how her young son also took on other jobs to pay for more music lessons; Como learned to play many different instruments, but never had a voice lesson.[40] Perry showed more musical talent in his teenage years as a trombone player in the town's brass band, playing guitar, singing at weddings, and as an organist at church.[44][45] He was a member of the Canonsburg Italian Band along with the father of singer Bobby Vinton, bandleader Stan Vinton, who was often a customer at his barber shop.[46][47][48]
Young Como started helping his family at age 10, working before and after school in Steve Fragapane's barber shop for 50¢ a week. By age 13, he had graduated to having his own chair in the Fragapane barber shop, although he stood on a box to tend to his customers.[42][49][50] It was also around this time when young Como lost his week's wages in a dice game. Filled with shame, he locked himself in his room and did not come out until hunger got the better of him. He managed to tell his father what had happened to the money his family depended on. His father told him he was entitled to make a mistake and that he hoped his son would never do anything worse than this.[42] When Perry was 14, his father became unable to work due to a severe heart condition. Como and his brothers became the support of the household.[43]
Despite his musical ability, Como's primary ambition was to become the best barber in Canonsburg. Practicing on his father, young Como mastered the skills well enough to have his own shop at age 14.[27][51] One of Como's regular customers at the barber shop owned a Greek coffee house that included a barber shop area, and asked the young barber if he would like to take over that portion of his shop. Como had so much work after moving to the coffee house, he had to hire two barbers to help with it. His customers mainly worked at the nearby steel mills. They were well-paid, did not mind spending money on themselves and enjoyed Como's song renditions. Perry did especially well when one of his customers would marry. The groom and his men would avail themselves of every treatment Como and his assistants had to offer. Como sang romantic songs while busying himself with the groom as the other two barbers worked with the rest of the groom's party. During the wedding preparation, the groom's friends and relatives would come into the shop with gifts of money for Como. He became so popular as a "wedding barber" in the Greek community he was asked to provide his services in Pittsburgh and Ohio.[49]
In 1929, the 17 year old Como met Roselle Belline at a picnic on Chartiers Creek that attracted many young people from the Canonsburg area. Como, who attended the cookout with another girl, did not spot Roselle until everyone was around the campfire singing and the gathering was coming to a close. When it came Como's turn to sing, he chose More Than You Know, with his eyes on Roselle for the entire song.[49] The teenage sweethearts were married July 31, 1933.[27][52] They raised three children, Ronnie, David, and Terri, with traditional, non-show-business values.[44][53] Because Perry Como believed his professional life and his personal life should be kept separate, he declined repeated interview requests from Edward R. Murrow's Person to Person.[25][27][54]
In 1958, the Comos celebrated their silver wedding anniversary with a family trip to Italy. On the itinerary was an audience with Pope Pius XII.[55] Como, who sat in a side wing of the Long Island church where he attended Sunday Mass in an effort to avoid attracting attention, was both puzzled and upset on returning home that photos from the visit made the newspapers throughout the world. A thorough check of both the Como and National Broadcasting Company (NBC) publicity offices found that neither was responsible for the release of the photos to the media; it was done by the Vatican's press department. When Perry and Roselle became Knight Commander and Lady Commander of the Equestrian Order of the Order of the Holy Sepulchre in 1952, it was a news item only after Archbishop Fulton J. Sheen, who had been honored at the same ceremony, mentioned it some time later.[7][18][27][44][56][57]
Como suffered a debilitating fall from a stage platform in 1971 while taping Perry Como's Winter Show in Hollywood.[58] X-rays showed no serious injury to his knee, but by the next morning, it was twice normal size. The ailing Como chartered a jet back to his home and doctors in Florida, where a second exam showed it had been seriously broken. His knee was re-set and placed in a cast with a recuperation time of eight months.[59][60] In 1993, he was successfully treated for bladder cancer.[52] When Roselle died suddenly on August 12, 1998 at age 84, the couple had been married for 65 years.[52] Como was reportedly devastated by her loss.[27][61][62]
Bing Crosby once described Como as, "the man who invented casual".[63] His preference for casual clothing did not keep him from being named one of the Best Dressed Men beginning in 1946, and continuing long after Como stopped appearing on weekly television.[64][65][66] Como also had his own line of sports/casual men's clothing made by Bucknell circa early 1950s.[67]
Perry was an accomplished golfer; there was always time to try getting in a game of golf.[6][68] "Perry Como Putters" were sold by MacGregor, each stamped with a Como facsimile autograph.[69] His colleagues held an annual Perry Como Golf Tournament to honor him and his love for the game.[70][71] In what must have been one of his favorite shows of his weekly series, Como's guests on the October 3, 1962 broadcast were Jack Nicklaus, Arnold Palmer, and Gary Player. The four golfers played 18 holes for the cameras at Sands Point, New York, where the Comos made their home in the television years.[18][27][72] Como also enjoyed fishing and could be found out on his boat almost every day after the family moved to Florida. Perry's "catches" would turn out to be the Como family's dinners.[6][73] Como also used his boat as a rehearsal hall with pre-recorded instrumental tapes sent to him by RCA Victor. Perry would work on material while he was waiting for the fish to bite.[74] Having enjoyed golfing and fishing in the North Carolina mountains for several years, Como built a vacation home in Saluda, North Carolina in 1980. He allowed no photos of his home, as it was his private place to get away from the celebrity life.[75][76][77]
In 1932, Como left Canonsburg, moving about 100 miles away to Meadville, Pennsylvania, where his uncle had a barber shop in the Hotel Conneaut. About 80 miles from Cleveland, it was a stop on the itinerary for dance bands who worked up and down the Ohio Valley. Como, Roselle, and their friends had gone to nearby Cleveland; their good times took them to the Silver Slipper Ballroom where Freddy Carlone and his orchestra were playing. Carlone invited anyone who thought he might have singing talent to come up and sing with his band. Young Como was terrified, but his friends urged him onto the stage. Carlone was so impressed with his performance that he offered him a job.[78]
The young man was not certain if he should accept the offer Freddy Carlone made, so he returned to Canonsburg to talk the matter over with his father. Perry expected he would tell him to stay in the barber business, but to his surprise, the senior Como told him if he did not try this, he would never know whether or not he could be a professional singer.[78] The decision was also made with an eye on finances; Como earned $125 per week from his barber shop while the job with Carlone paid $28 per week.[53] Roselle was willing to be a wife on the road, traveling with her husband and the band, but the salary could not support two people like this.[27] Perry and Roselle were married in Meadville on July 31, 1933; four days later, Como joined Freddy Carlone's band and began working with them.[79][80] Roselle returned home to Canonsburg; her new husband would be on the road for the next 18 months.[81]
Three years after joining the Carlone band, Como moved to Ted Weems' Orchestra and his first recording dates.[1][82] Como and Weems met in 1936 while the Carlone orchestra was playing in Warren, Ohio.[83] Perry initially did not take the offer to join Weems' orchestra. Apparently realizing it was the best move for his young vocalist, Freddy Carlone urged him to sign with Weems.[84] Art Jarrett had just left the Weems organization to start his own band. Weems was in need of a vocalist; Como got a raise, as Weems paid $50 per week, and his first chance for nationwide exposure. Ted Weems and his orchestra were based in Chicago, and were regulars on radio shows such as The Jack Benny Program and Fibber McGee and Molly.[85][86][87] The Weems band also had its own weekly radio program on the Mutual Broadcasting System from 1936 – 1937.[88][89][90]
It was here where the young Como acquired polish and his own unique style, with the help of Ted Weems. Mutual Broadcasting System member WGN radio threatened to stop carrying the Weems broadcasts from Chicago's Palmer House if Weems' new singer did not improve. Weems had recordings of some previous radio programs; one evening he and Como listened to them after the show. From listening to them, Como realized no one could make out the words to the songs he was singing. Weems told Como there was no need for him to resort to vocal tricks; what was necessary was to sing from the heart.[91][92]
Como's first recording with the Weems band was a novelty tune called "You Can't Pull the Wool Over My Eyes", recorded for the Decca Records label in May, 1936. During one of Como's early Decca recording sessions with the Weems orchestra, Weems was told to get rid of "that kid" (Como) because he sounded too much like Bing Crosby. Before Como could reply, Ted Weems spoke up, saying that Como was part of the session or it was over.[41] By the time Como had been with Ted Weems about a year, he was mentioned in a 1937 Life magazine NBC Radio ad for Fibber McGee and Molly as "causing cardiac flutters with his crooning."[93] The weekly radio show, Beat the Band, which ran on NBC from 1940 – 1944, was a "stump the band" type musical quiz show where Weems and his orchestra were the featured band from 1940 – 1941.[88][89]
The Como's first child, Ronnie, was born in 1940 while the Weems band was working in Chicago. Como left the performance to be at his wife's side even though he was threatened with dismissal if he did so.[52] Though Perry was now making $250 a week and travel expenses for the family were no problem, young Ronnie could not become used to a normal routine when they were able to stay in one place for a period of time. The radio program Beat the Band did not always originate from Chicago, but was often done from locations such as Milwaukee, Denver and St. Louis, as the band continued to play road engagements while part of the radio show cast.[94] The Comos decided road life was no place to try raising a child, and Roselle and the baby went back to Canonsburg.
In late 1942, Como made the decision to quit the Weems band, even if it meant giving up singing.[81] He returned to Canonsburg, his family, and his trade, tired of life on the road without his wife and young son.[95] Como received an offer to become a Frank Sinatra imitator, but chose to keep his own style.[96][97] While Perry was negotiating for a store lease to re-open a barber shop, he had a call from Tommy Rockwell at General Artists Corporation, who also represented Ted Weems. Como had many other calls bringing offers; what was different was that he knew and trusted Rockwell, who was offering him his own sustaining (non-sponsored) Columbia Broadcasting System (CBS) radio show and to get him a recording contract.[98] It also mattered that the offers meant staying in New York with no more road tours.[27][84][99] As Perry pondered the offer, Roselle Como told him, "You can always get another barber shop if it doesn't work out!"[1][44][100] Until the radio show and recording contract offers, he did not really view singing as his career, believing the years with Carlone and Weems had been enjoyable, but now it was time to get back to work. Como said in an 1983 interview, "I thought I'd have my fun and I'd go home to work."[41][101]
Perry went on the air for CBS on March 12, 1943.[102] Rockwell's next move was to book Como into the renowned Copacabana night club for two weeks beginning on June 10, 1943.[27] One week later he signed his first RCA Victor contract and three days after that cut his first record for the company: "Goodbye, Sue".[103][104] It was the beginning of a 44 year professional relationship; no major artist has been with a recording company longer.[1][27][51] He became a very successful performer in theater and night club engagements; Como's initial two weeks at the Copacabana in June stretched into August.[27] There were times when Frank Sinatra would ask Como to fill in for him at his Paramount Theater performances.[105] The crooning craze was at its height during this time and the "bobby soxer" and "swooner" teenage girls who were wild about Sinatra added Como to their list, a "swooners" club voting him "Crooner of the Year" in 1943.[106] The line for a Perry Como Paramount performance was three deep and wound around the city block. Como's popularity also extended to a more mature audience when he played the Versailles and returned to the Copacabana, where the management placed "SRO-Swooning Ruled Out" cards on their tables.[25][106][107]
Doug Storer, who was an advertising manager with the Blackman Company at the time, became convinced of Como's abilities after hearing him on his non-sponsored CBS Radio show. Storer produced a demo radio program recording with Como and the Mitchell Ayres Orchestra which he brought to the advertising agency that handled the Chesterfield cigarettes account. Initially, the agency liked the format of the show, but wanted someone else as the star, asking Storer to obtain the release of the singer they preferred, so he would be free for their new program. Storer decided to do nothing about getting the singer released from his contract. When he was contacted by the agency some weeks later, saying they were ready to put the program on the air on NBC, Storer bluntly told them the man for their show was the man they had heard on the demo recording. The program was scheduled to make its debut in about a week; the only option was to hire Como for the show. Storer then arranged for Como's release from his CBS contract.[108] On December 11, 1944, he moved from CBS to NBC for a new radio program, Chesterfield Supper Club.[109][110][111]
The April 5, 1946 broadcasts of the Chesterfield Supper Club took place 20,000 feet in the air; these were the first known instances of a complete radio show being presented from an airplane. Como, Jo Stafford, the Lloyd Shaffer Orchestra and the entire "Supper Club" crew made the flights for the shows.[27][112] There were two "Supper Club" broadcast flights that evening: at 6 PM and again at 10 PM for the West Coast broadcast of the show. In addition to the instruments for the band, the plane also carried a small piano. Because the stand-held microphones were not very useful on the plane, hand-held mikes were then used, but due to the cabin pressure, they became extremely heavy to hold after a few minutes.[113] This mid-air performance caused the American Federation of Musicians to consider this a new type of engagement and issue a special set of rates for it.[114]
After 26 years of not making night club appearances, Como accepted an engagement at the International Hotel in Las Vegas in June 1970, which also resulted in his first "live" album, Perry Como in Person at the International Hotel, Las Vegas.[11] Ray Charles, whose Ray Charles Singers were heard with Como for over 35 years, formed a special edition of the vocal group for his Las Vegas opening. Prior to this he had last appeared at New York's Copacabana in 1944.[51][115][116][117] Como continued to do periodic engagements in Las Vegas and Lake Tahoe, limiting his night club appearances to Nevada.[118]
Performing live again brought Como a new sense of enjoyment. In May 1974, he embarked on his first concert appearance outside of the United States, a show at the London Palladium for the Variety Club of Great Britain to aid children's charities.[119][120] It was here where he discovered what he had been missing when the audience cheered for ten minutes after he walked onstage. At the show's end, Como sat in a chair, delightedly chatting back and forth with his equally delighted fans.[73] Perry returned to the United Kingdom (UK) in November for a Royal Variety Performance to benefit the Entertainment Artistes' Benevolent Fund with the Queen Mother in attendance.[121][122][123] Como was invited to visit Buckingham Palace the day after the show. Since the invitation did not extend to his associates traveling and working with him, Como politely declined.[124] When word reached the Palace regarding the reason for Perry's turning down the invitation, it was then extended to include all in the Como party.[125] Soon after, he announced his first concert tour that began in the UK in the spring of 1975.[126]
In 1982, Como and Frank Sinatra were invited to entertain Italian President Sandro Pertini at a White House State dinner when he made an official visit. President Pertini enjoyed their performance enough to join them in singing "Santa Lucia".[127] The pair reprised this routine the next year in California as part of the entertainment for Queen Elizabeth's Royal visit.[41][128] Perry was on the program by special request of the Queen.[129][130]
1984 found Como traveling the US with his 50th Anniversary tour. Having spent most of his professional life in radio or recording studios and on television soundstages, he was enjoying doing live performances.[131] Even after his 80th birthday, Perry continued the concert tours.[78][132] Gone however, were the cardigan sweaters which were a staple of his weekly television shows. Como now performed in a tuxedo, saying, "It shows respect for the audience." [133][134] The return to live appearances also provided Como with an opportunity to have a little fun with his "Mister Nice Guy" image in a song Ray Charles and Nick Perito[135][136] his closest collaborator since 1963,[137] wrote for him:[95][138][139]
It doesn't take a guy equipped with ESP, to see what's cookin' with your curiosity!
Is "Mister Nice Guy" just a press agent's pitch? his dearest friends say he's a . . .
You never thought you'd see me in Las Vegas 'live' I haven't played a "club" since 1885!
It's spelled out in dollar signs ( you better believe it! ) I can almost read your minds!–Nick Perito and Ray Charles, "If I Could Almost Read Your Mind"
Perry Como credited Bing Crosby for influencing his voice and style.[140][141] Perry Como's voice is widely known for its good-natured vocal acrobatics as portrayed in his highly popular novelty songs such as "Hot Diggity (Dog Ziggity Boom)", but there was another side to Perry Como. Music critic Gene Lees describes it in his sleeve note to Como's 1968 album Look To Your Heart:[142]
Despite his immense popularity, Como is rarely given credit for what, once you stop and think of it, he so clearly is: one of the great singers and one of the great artists of our time.
Perhaps the reason people rarely talk about his formidable attributes as a singer is that he makes so little fuss about them. That celebrated ease of his has been too little understood. Ease in any art is the result of mastery over the details of the craft. You get them together to the point where you can forget about how you do things and concentrate on what you are doing. Como got them together so completely that the muscles don’t even show. It seems effortless, but a good deal of effort has gone into making it seem so. Como is known to be meticulous about rehearsal of the material for an album. He tries things out in different keys, gives the song thought, makes suggestions, tries it again, and again, until he is satisfied. The hidden work makes him look like Mr. Casual, and too many people are taken in by it — but happily so.
–Gene Lees-sleeve note, Look To Your Heart
From 1989 until his death in 2001, Como co-hosted a weekly syndicated radio show with John Knox, called Weekend With Perry.[143][144][145]
Como's Hollywood type good looks earned him a seven year contract with 20th Century-Fox in 1943. He made five films: Something for the Boys (1944), March of Time (1945), Doll Face (1945),[146][147][148] If I'm Lucky (1946), and Words and Music (1948), but he never appeared to be truly comfortable with the medium, feeling his roles did not match his personality.[21][149][150]
Some misguided advisers sought to alter Como's life story by changing his previous occupation from barber to coal miner, claiming it would make for better press.[146] Fred Othman, a Hollywood columnist, publicly stated he believed Como the barber was just a publicity gimmick. Perry gave him a shave and haircut at the Fox Studios barber shop to prove him wrong.[101][151] In 1985, Como related the story of his first film role experience in Something for the Boys. He sat ready to work in his dressing room for two weeks without being called. Perry spent the next two weeks playing golf, still not missed by the studio.[95] It was five weeks before he was actually called to the set, despite the studio's initial urgent report for work notice. When Como finally appeared, the director had no idea who he was.[152]
At the time Como was signed, fewer musicals were being made by the studios because audiences were not going to the box office for this type of film. He was put into a sort of stock company, where the actors or actresses worked only when the studio needed to fill out a schedule.[152] Though his last movie, Words and Music, was a Metro-Goldwyn-Mayer production, Como fared no better. Less than two weeks before the film's release, Walter Winchell printed in his syndicated column, "Someone at MGM must have been dozing when they wrote the script for Words and Music. In most of the film Perry Como is called Eddie Anders and toward the end (for no reason) they start calling him Perry Como."[153] Como asked for and received a release from the remainder of his movie contract in the same year.[51][140][154] Quoting Como, "I was wasting their time and they were wasting mine." [95]
Como's comments during a 1949 interview were prophetic, as far as his success was concerned. At the time he was doing the Chesterfield Supper Club on both radio and television, "Television is going to do me a lot more personal good than the movies ever have...The reason should be obvious. On television, I'm allowed to be myself; in pictures, I was always some other guy. I come over like just another bum in a tuxedo."[21] Como received some movie offers that pleased him while he was doing the weekly television shows, but there was just never enough time to pursue the film work.[2][3][155]
Perry Como made the move to television when NBC initially televised the Chesterfield Supper Club radio program on December 24, 1948. A very special guest on that first television show was Como's eight year old son, Ronnie, as part of a boys' choir singing "Silent Night" with his father.[4][156] The show was the usual Friday night Chesterfield Supper Club with an important exception—it was also being broadcast on television.[157] The experimental simulcast was to continue for three Friday "Supper Club" shows, but had gone so well, NBC decided to extend the televised version through August 1949.[21][158] Years later, Como admitted to being scared and feeling awkward initially, but somehow managed to just be himself.[159] Said Como, "You can't act on TV. With me, what you see is what you get." While still in its experimental phase, Como and the television show survived an on location broadcast in Durham, North Carolina, on April 15, 1949.[27]
On September 8, 1949, it became a weekly half-hour offering on Sunday nights, directly opposite Ed Sullivan's Toast of the Town.[111][160] In 1950, Perry moved to CBS and the show's title was changed to The Perry Como Chesterfield Show, again sponsored by Liggett & Myers' Chesterfield cigarettes.[27] Como hosted this informal 15 minute musical variety series on Monday, Wednesday and Friday, immediately following the CBS Television News. The Faye Emerson Show was initially broadcast in the same time slot on Tuesday and Thursday.[53][161] By 1952, it was evident that television would replace radio as the major entertainment medium. Gary Giddins, the biographer of Bing Crosby, said in 2001, "He (Como) came from this whole generation of crooners--Crosby and Sinatra, but he was the only one of them who figured out TV." [27] Como's 15-minute television show was also simulcast on radio via the Mutual Broadcasting System beginning on August 24, 1953; while the Chesterfield Supper Club broadcasts were simulcast on radio and television, this was the first instance of a simulcast between two networks.[27]
Como's CBS contract was to expire on July 1, 1955.[162] The year before, he had been asked to be the master of ceremonies and narrator of the NBC Radio 35th anniversary special.[163] That April, Perry Como signed a 12 year "unbreakable" contract with NBC.[162] On his last CBS show, June 24, 1955, Como was in high spirits, bringing all those who worked off camera on the air for introductions. Perry tried his hand at camera work, getting a picture on the air but one that was upside-down.[27] In appreciation for the 11 year association, his sponsor, Chesterfield, presented him with all the musical arrangements used during this time as a parting gift.[164]
He moved back to NBC with a weekly hour long variety show featuring additional musical and production numbers, comedy sketches and guest stars called The Perry Como Show, premiering Saturday, September 17, 1955.[44] This version of his show was also so popular that in the 1956 – 1957 television season, it reached ninth in the Nielsen ratings, the only show on NBC that season to land in the top ten.[27]
Como's "Dream Along With Me" [165][166] became the show's opening theme song,[4] "Mr. C." received the first of many "stacks and stacks of letters" requesting him to sing a specific song.[50][165][167] It was also here where he began wearing his trademark cardigan sweaters.[4][168][169] The "Sing to me, Mr. C." segment of the Como shows with Perry seated on a stool singing viewer requested songs had its roots in the first television broadcasts of Chesterfield Supper Club. When cameras entered the "Supper Club" radio studio, they found Como and his guests sitting on stools behind music stands.[134][157] The show's closing theme was, "You Are Never Far Away From Me".[4][165]
Perry's announcer on the broadcasts, Frank Gallop, became a foil for Como's jokes. When the television show began, there was not enough room for Gallop to appear on stage; he was an invisible "voice from the clouds" until the show's 1958 – 1959 season.[170][171] There was as much fun at rehearsals as on the show itself.[172] Como's relaxed and fun-loving manner at rehearsals put many nervous guests at ease.[173] It was common for Como to leave the Saturday afternoon rehearsal for about a half-hour to go to confession. He managed to save some time by asking his music publisher, Mickey Glass, to wait in line for him at the confessional. Glass, who was Jewish, was most agreeable to this, but wondered what to do if his turn came before Como arrived.[174][175][176]
Perry thoroughly enjoyed what he was doing, saying in a 1989 interview, "I got a kick out of live television. The spontaneity was the fun of it." [27] Spontaneity and the ability to be himself came in handy for swimmer/actress Esther Williams' guest appearance of March 16, 1957.[177] A wardrobe malfunction meant that viewers were seeing more of Esther than 1950s television considered to be in good taste; more live show mishaps followed. At the show's end, Williams was swimming in a pool specially constructed on the set for her appearance. Como simply said, "Goodnight, folks," and leaped, fully clothed, into the swimming pool.[178]
On December 17, 1955, viewers were able to see first-hand what Perry did for a living before he was a professional singer. Actor Kirk Douglas was one of Como's television guests; Douglas had grown a beard for his Vincent Van Gogh role in Lust For Life, which finished filming that week. Como shaved Douglas' movie beard live on national television.[8][27][179] On September 15, 1956, the season premiere of The Perry Como Show was broadcast from NBC's new color television studios at the New York Ziegfeld Theatre, making it one of the first weekly color TV shows.[180] In addition to this season premiere as a color television show, there was also a royal visit from Prince Rainier of Monaco and his bride of six months, Grace Kelly.[177]
Como competed with Jackie Gleason in what was billed as the "Battle of the Giants" and won.[8] This is now rarely mentioned, in part because Como commonly downplayed his own achievements, and also because the two men were friends.[7] The weekly ratings winner would phone the loser for some mock gloating.[181][182] At the height of this television competition, Como asked Gleason a favor: to visit his home when his mother-in-law, a big Gleason fan, was there. Though Mrs. Belline spoke no English and Gleason no Italian, Roselle's mother was thrilled. Como's words to Gleason after the visit, "Anything you want, you got it. In fact, I'll even do one of your shows so the ratings will be better." [178] Como was among those who filled in for Gleason on The Jackie Gleason Show in 1954 when the entertainer suffered a broken ankle and leg in an on-air fall.[183][184]
An example of Como's popularity came in 1956, when Life conducted a poll of young women, asking them which man in public life most fit the concept of their ideal husband: it was Perry Como.[185] A 1958 nationwide poll of U.S. teenagers found Perry Como to be the most popular male singer, beating Elvis Presley, who was the winner of the previous year's poll.[186][187] At one point, his television show was broadcast in at least 12 other countries.[5][44][50]
Another way to judge the value of the Como show to the network can be found in the following: during sound checks at rehearsals, it was often difficult to hear Como's soft voice without having a large microphone ruin a camera shot. NBC had RCA design a microphone for the show, which was known as the "Como mike"; the microphone was able to pick up Como's voice properly and was small enough not to interfere with camera shots.[188]
In 1959, Como moved to Wednesday nights, hosting Perry Como's Kraft Music Hall weekly for the next eight years; the last four seasons from 1963 to 1967 were done as monthly specials alternating with Kraft Suspense Theatre, The Andy Williams Show, and finally The Road West.[2][3][4] Como became the highest-paid performer in the history of television to that date, earning mention in the Guinness Book of World Records. Como himself took part in none of this; his production company, Roncom, named for son Ronnie Como, handled the transaction along with all other Como business matters.[189] Como also had control of the show which would replace his during the summer television hiatus. While "Mr. C." was having a holiday, viewers would see Perry Presents, beginning in 1959.[190][191]
In late 1962, after the Cuban Missile Crisis had settled well enough to permit the evacuated servicemen's families to return to Guantanamo Bay Naval Base in Cuba, Secretary of Defense Robert McNamara was eager to do more for morale there. He asked Perry Como to bring his television show to the Naval base.[192] Perry and his cast and crew were at Guantanamo when the loved ones began their return.[193] The first entertainers to visit the base since the crisis, the Como show filmed there for eight days. Some highlights of the program, which was seen in the US on December 12, 1962, included Como's shaving a serviceman with a Castro-like beard and the enthusiastic participation when Perry asked for volunteers to come on stage to do the Twist with the lovely ladies who were part of the visiting dance troupe.[194][195]
Filming for the Kraft Music Hall Christmas show that was aired on December 17, 1964 began at the Vatican November 7.[196] By special permission of Pope Paul VI, Como and his crew were able to shoot segments in the Vatican gardens and other areas where cameras had never been permitted previously.[27][197][198] The show featured the first television appearance of the Sistine Chapel Choir, and also the first time a non-choir member (Como) sang with them.[198][199] The choir performed a Christmas hymn in Latin written by their director, Domenico Bartolucci, called "Christ Is Born", as part of their presentation. Como asked his associate, Ray Charles, to write English lyrics for the song, using it many times on both television shows and his Christmas albums.[198][200] The Carpenters also recorded the song on their first Christmas album, Christmas Portrait.[198]
Between 1963 and 1986, Como's television appearances began tapering off, gradually becoming limited to seasonal and holiday specials with the emphasis being on Christmas.[155][201] Como had numerous Christmas television specials, beginning on Christmas Eve 1948, and continuing to 1994, when his final Christmas special was recorded in Ireland. They were recorded in many countries, including the Holy Land, Mexico, and Canada, as well as many locations throughout the United States. The 1987 Christmas special was cancelled at the behest of Como; American Broadcasting Company (ABC) was willing to offer him only a Saturday 10 PM time slot for it 3 weeks before the holiday.[202] Perry filled the yearly gap for his fans with live Christmas concerts in various locations.[78][132][203][204]
Como's final Christmas special was filmed in January 1994 in Dublin's Point Theatre before an audience of 4,500 people, including Irish President Mary Robinson. Perry Como's Irish Christmas was a Public Broadcasting Service (PBS) production. Como appeared to be in less than the best of health; though the show as broadcast was less than ninety minutes long, its recording took over four hours.[201][205] The performance is heartbreaking as it was evident he was unwell, but at the same time, heart-warming, because despite all that, Como persevered and sang those songs for his fans this one last time. At the show's conclusion, Como apologized to his Dublin audience for a performance he felt was not up to his usual standards.[27]
During his visit to Dublin, Como visited a barber shop called "The Como" on Thomas Street. The owners, lifelong fans who named their business in his honor, had sent photographs of the shop and letters to Como inviting him to visit. Photos of Como with the barbers were framed in the shop. "The Como" closed in 2002 but it remains a household name in The Liberties.[27]
Canonsburg has always been very proud to be the birthplace of Perry Como; the local newspaper of the time, Canonsburg Daily Notes, seems to have been the first to write an article about him. Their edition of July 19, 1934, featured a photo and the following: "A young Canonsburg boy threatens to snatch the crown from Bing Crosby's head. Perry Como, son of Mr. and Mrs. Pietro Como of 530 Franklin street is said to have one of the grandest baritone voices in the country." [45][206] The borough honored him three times over the course of his life.[207] The first of these events took place September 14, 1946, when Third Street, where Perry worked in the barber shop of Steve Fragapane, was renamed "Perry Como Avenue". Perry, Roselle, and Como's mother, Lucy, attended the ceremonies and banquet held at the State Armory.[27][45][208]
A second ceremony marking Perry Como Day took place August 24, 1977, but the most ambitious project began in 1997 – a statue of the singer.[35][45][209] The planned statue had the blessing of Como's wife, Roselle, who died the year before it was unveiled on May 15, 1999.[52] As part of the festivities, Como's stool and music stand from The Perry Como Show and the equipment he used at Steve Fragapane's barber shop were donated to the borough.[206] Como was not present at the unveiling because of poor health. The inscription on the base, "To This Place God Has Brought Me", was a favorite saying of Como's; the musical feature was added in 2002.[35][210]
The Como celebration crossed the Atlantic in August 2002. Palena, Italy, the birthplace of Como's parents, had a long-standing week-long festival in honor of the singer.[211] A smaller version of the statue was taken to Palena by the mayor of Canonsburg, Anthony Colaizzo.[212] Perry's son, David, and his wife were also in attendance when the town of Palena renamed a street for Como.[210] There is a marble plaque on a Palena town wall stating that Pietro and Lucia Como, parents of Perry Como, emigrated from this village to the United States which dates from these ceremonies.[213][214]
In 2007, the local McDonald's was totally rebuilt. The new building decor features memorabilia of Como along with that of fellow singer and Canonsburg native, Bobby Vinton.[215] A children's playground in Canonsburg on Giffin Avenue is also named for Como.[216] In downtown Canonsburg, all of the tree grates are marked with information about the records that sold a million copies and the town clock hourly plays one of the hits of Como (141), Vinton (44), or the Four Coins (7), also from Canonsburg.[217][218][219]
Perry Como never forgot Canonsburg either.[220][221] One of the things he did to give a helping hand to his home town was to convince RCA to open a record-pressing plant there.[48][222] Those who needed to raise funds for local projects like Boys' and Girls' Clubs found him always ready to do whatever was needed.[35][70][223]
Como died in his sleep on May 12, 2001, at his home in Jupiter Inlet Colony, Florida, six days before his eighty-ninth birthday. He was reported to have suffered from symptoms of Alzheimer's disease during the final two years of his life.[224] His funeral Mass took place at St. Edward's Catholic Church in Palm Beach, Florida.[225] Perry and Roselle are buried at Riverside Memorial Park, Tequesta (Palm Beach County), Florida. [226][227]
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Wikimedia Commons has media related to: Perry Como |
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Persondata | |
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Name | Como, Perry |
Alternative names | |
Short description | American male singer |
Date of birth | 18 May 1912 |
Place of birth | Canonsburg, Pennsylvania, U.S. |
Date of death | 12 May 2001 |
Place of death | Palm Beach County, Florida, U.S |
Antoine Dominique "Fats" Domino Jr. (born February 26, 1928) is an American R&B and rock and roll pianist and singer-songwriter. He was born and raised in New Orleans, Louisiana. Domino was French Creole and Creole was his first language. Domino was delivered at home by his midwife grandmother who was born into enslavement in 1857. Like most families in the Lower Ninth Ward, Domino's family were new arrivals from the sugar and cotton plantations. His father was a well known violinist, and Domino was inspired to play himself. He eventually learned from his Uncle, jazz guitarist Harrison Verrett. Fats released five Gold (million selling) records before 1955. Domino also had 35 Top 40 American Hits and has a music style based on traditional R&B ensembles or Bass, Piano, Electric Guitar, Drums, and Saxophone.
Domino first attracted national attention with "The Fat Man" in 1949 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a strong back beat. "The Fat Man" sold one million copies by 1953. Fats Domino released a series of hit songs with producer and co-writer Dave Bartholomew, saxophonists Herbert Hardesty and Alvin "Red" Tyler and drummer Earl Palmer. Other notable and long-standing musicians in Domino's band were saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader. Domino finally crossed into the pop mainstream with "Ain't That A Shame" (1955), which hit the Top Ten, though Pat Boone characteristically hit #1 with a milder cover of the song that received wider radio airplay in a racially-segregated era. Domino eventually had 37 Top 40 singles.