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Working with Harold Eugene Edgerton of MIT, Gjon Mili was a pioneer since the 1930s in the use of photoflash to capture a sequence of actions in one photograph. Trained as an engineer and self-taught in photography, Gjon Mili was the first to use electronic flash and stroboscopic light to create photographs that had more than scientific interest. Since the late 1930s, his pictures of dance, athletics, and musical and theatrical performances have astonished and delighted viewers, revealing the beautiful intricacy and graceful flow of movement too rapid or too complex for the eye to discern. His portraits of artists, musicians, and other notables are less visually spectacular, but equally masterful.
In 1944, he directed the short film Jammin' the Blues, which was made at Warner Bros., and featured performances by Lester Young, Red Callendar, Harry Edison, "Big" Sid Catlett, Illinois Jacquet, Barney Kessel, Jo Jones and Marie Bryant. Mili did not serve as cinematographer for the film (Robert Burks did) but the film used multiplied images that in many ways recall the multi-image still-frames done with the strobe. The imaginative use of the camera makes this film a minor landmark in the way musicians are filmed.
In 1939, Mili became a freelance photographer working for Life. In the course of more than four decades, thousands of his pictures were published by Life as well as other publications. In the mid-1940s he was an assistant to the photographer Edward Weston. He died in Stamford, Connecticut, in 1984.
Gjon Mili is the one photographer who has formed our contemporary visual understanding of movement, both in the direct example of his pictures and in the influence his work has had on all action photographers who have come after him.
His book Photographs and Recollections is a summary of his fifty years of work in photography.
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Name | Glen Gray |
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Background | non_vocal_instrumentalist |
Birth name | Glen Gray Knoblauch |
Alias | "Spike" |
Born | June 07, 1900 Metamora, Illinois, U.S. |
Died | August 23, 1963 |
Instrument | Saxophone |
Genre | Jazz, Big band |
Occupation | Bandleader |
Years active | 1915–1963 |
Label | Brunswick, Decca, and Capitol |
Associated acts | Casa Loma Orchestra |
Gray graduated from Roanoke High School. He is said to have joined the army at seventeen and two years later he was living at home with his family. He was employed as a bill clerk for the railroad. He attended Illinois Wesleyan University but left to work for the Santa Fe Railroad.
In 1927, his Orange Blossoms Band was renamed the Casa Loma Orchestra, after Casa Loma in Toronto, where the band played for eight months. Gray collaborated with the jazz musician Jean Goldkette and with trumpeter/arranger Salvador Camarata. He gave Betty George her first job as a soloist. Ill health forced Gray to retire from touring in 1950. In 1956, he went back into the studio to record the first of what became a series of LPs for Capitol Records, which recreated the sounds of the big band era in stereo.
Category:1900 births Category:1963 deaths Category:American saxophonists Category:Bandleaders Category:American military personnel of World War I Category:People from Woodford County, Illinois Category:Deaths from lymphoma Category:Cancer deaths in Massachusetts Category:People from Plymouth, Massachusetts Category:Illinois Wesleyan University alumni
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Name | Mary Lou |
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Birthdate | March 15, 1992 |
Birth place | California, U.S. |
Occupation | Actress |
Yearsactive | 2003–present |
Notable role | Mary Ferry - Unfabulous |
Mary Lou (born March 15, 1992) is an American actress. She is known for playing Mary Ferry on the Nickelodeon television series Unfabulous.
Mary Lou’s show business career started at age six when she entertained as a member of Singing Solo (a children's singing group located in La Mesa, CA) at a local street fair with a rendition of The Good Ship Lollipop. After this performance, she chose acting as her career. Over the next few years, Lou went on to sing at over two dozen venues throughout Southern California, Texas and Tennessee, winning multiple local, state, regional, national and world championship titles.
Mary Lou also filmed a guest-starring role on Phil of the Future, as a math-nerd named Alex, in Good Phil Hunting. Mary also appeared on Future Girls: Adventures in Marine Biology and Bad Mother's Handbook and guest starred on What should you do?. More recently Mary was on Glee. She continues to audition daily for feature films, television and voiceover.
Today, Mary Lou is a featured artist at charity events with her live country-western show.
Category:1992 births Category:American child actors Category:American film actors Category:American television actors Category:Living people Category:Actors from California
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Caption | in The Prince and the Showgirl (1957) |
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Birth name | Norma Jeane Mortenson |
Birth date | June 01, 1926 |
Birth place | Los Angeles, California, U.S. |
Death date | August 05, 1962 |
Death place | Brentwood, Los Angeles, California, U.S. |
Other names | Norma Jeane Baker Norma Jeane Dougherty Norma Jeane DiMaggio |
Occupation | Actress, model, film producer, singer |
Years active | 1947–1962 |
Spouse |
She made her first appearance on the cover of Life magazine in April 1952, where she was described as "The Talk of Hollywood". Monkey Business, a successful comedy directed by Howard Hawks starring Cary Grant and Ginger Rogers, was released in September and was the first movie in which Monroe appeared in with platinum blonde hair. and a scene which shows Monroe (from the back) making a long walk toward Niagara Falls received frequent note in reviews.
While the film was a success, and Monroe's performance had positive reviews, her conduct at promotional events sometimes drew negative comments. Her appearance at the Photoplay awards dinner in a skin-tight gold lamé dress was criticized. Louella Parsons' newspaper column quoted Joan Crawford discussing Monroe's "vulgarity" and describing her behavior as "unbecoming an actress and a lady". and was poorly received. Ed Sullivan described Monroe's performance of the song "Heat Wave" as "one of the most flagrant violations of good taste" he had witnessed. While Monroe was a student, Lee Strasberg commented, "I have worked with hundreds and hundreds of actors and actresses, and there are only two that stand out way above the rest. Number one is Marlon Brando, and the second is Marilyn Monroe."
During the following months, Monroe's dependence on alcohol and prescription medications began to take a toll on her health, and friends such as Susan Strasberg later spoke of her illness. and in February she voluntarily entered the Payne Whitney Psychiatric Clinic. Monroe later described the experience as a "nightmare". Monroe was dismissed. The studio 20th Century Fox filed a lawsuit against her for half a million dollars, Monroe was replaced by Lee Remick, and when Dean Martin refused to work with any other actress, he was also threatened with a lawsuit.
Following her dismissal, Monroe engaged in several high-profile publicity ventures. She gave an interview to Cosmopolitan and was photographed at Peter Lawford's beach house sipping champagne and walking on the beach. Published after her death, they became known as 'The Last Sitting'. Richard Meryman interviewed her for Life, in which Monroe reflected upon her relationship with her fans and her uncertainties in identifying herself as a "star" and a "sex symbol". She referred to the events surrounding Arthur Miller's appearance before the House Un-American Activities Committee in 1956, and her studio's warning that she would be "finished" if she showed public support for him, and commented, "You have to start all over again. But I believe you're always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by, and, so long, I've had you fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live." Her dispute with 20th Century Fox was resolved, and her contract renewed into a $1 million two-picture deal, and filming of Something's Got to Give was scheduled to resume in early fall 1962. Also on the table was an Italian film offer worth several million giving her script, director and co-star approval.
Mrs. Strasberg then sued the children of four photographers to determine rights of publicity, which permits the licensing of images of deceased personages for commercial purposes. The decision as to whether Monroe was a resident of California, where she died and where her will was probated, or New York, which she considered her primary residence, was worth millions.
On May 4, 2007, a New York judge ruled that Monroe's rights of publicity ended at her death. In October 2007, Governor Arnold Schwarzenegger signed Senate Bill 771. The legislation was supported by Anna Strasberg and the Screen Actors Guild, and established that non-family members may inherit rights of publicity through the residuary clause of the deceased's will, provided that the person was a resident of California at the time of death.
In March 2008, the United States District Court in Los Angeles ruled that Monroe was a resident of New York at the time of her death, citing the statement of the executor of her estate to California tax authorities, and a 1966 sworn affidavit by her housekeeper. The decision was reaffirmed by the United States District Court of New York in September 2008. In 2010, Monroe's Brentwood home was put up for sale by Prudential California Realty.
Dougherty's actions seem to contradict these claims: he remarried months after Monroe divorced him; his sister told the December 1952 Modern Screen Magazine that he left Monroe because she wanted to pursue modeling, after he initially gave her permission to do so; he confirmed Monroe's version of the beginning of their relationship in an A&E; Network Monroe documentary that his mother had asked him to marry her so that she would not be returned to an orphanage. On Monroe's death, August 5, 1962, one of the responding officers who knew Jim Dougherty phoned him at 4:00 a.m. with the news. Dougherty turned to his wife and said, "Say a prayer for Norma Jean. She's dead." Most telling, on August 6, The New York Times reported that, on being informed of her death, Dougherty replied "I'm sorry" and continued his LAPD patrol. He did not attend Monroe's funeral.
Maury Allen quoted New York Yankees PR man Arthur Richman that Joe told him that the marriage went wrong from then. On September 14, 1954, Monroe filmed the famed skirt-blowing scene for The Seven Year Itch in front of New York's Trans-Lux Theater. Bill Kobrin, then Fox's east coast correspondent, told the Palm Springs Desert Sun in 1956 that it was Billy Wilder's idea to turn the shoot into a media circus, and that the couple had a "yelling battle" in the theater lobby. She filed for divorce on grounds of mental cruelty 274 days after the wedding.
In February 1961, Monroe was admitted to the Payne Whitney Psychiatric Clinic. She contacted DiMaggio, who secured her release. She later joined him in Florida, where he was serving as a batting coach at the New York Yankees' training camp. Bob Hope jokingly dedicated Best Song nominee The Second Time Around to them at the 1961 Academy Awards.
According to Allen, on August 1, 1962, DiMaggio – alarmed by how Monroe had fallen in with people he considered detrimental to her well-being – quit his job with a PX supplier to ask her to remarry him.
After Monroe's death, DiMaggio claimed her body and arranged her funeral. For 20 years, he had a half-dozen red roses delivered to her crypt three times a week.
In 2006, DiMaggio's adopted granddaughters auctioned the bulk of his estate, which featured two letters Monroe penned to him and a photograph signed "I love you, Joe, Marilyn."
Miller's screenplay for The Misfits, a story about a despairing divorcée, was meant to be a Valentine gift for his wife, but by the time filming started in 1960 their marriage was beyond repair. A Mexican divorce was granted on January 24, 1961 in Ciudad Juarez by Francisco José Gómez Fraire. On February 17, 1962, Miller married Inge Morath, one of the Magnum photographers recording the making of The Misfits.
In January 1964, Miller's play After The Fall opened, featuring a beautiful and devouring shrew named Maggie. Simone Signoret noted in her autobiography the morbidity of Miller and Elia Kazan resuming their professional association "over a casket". In interviews and in his autobiography, Miller insisted that Maggie was not based on Monroe. However, he never pretended that his last Broadway-bound work, Finishing the Picture, was not based on the making of The Misfits. He appeared in the documentary The Century of the Self, lamenting the psychological work being done on her before her death.
Monroe did reportedly have an affair with President John F. Kennedy and his brother Senator Robert Kennedy. JFK's reputed mistress Judith Exner, in her 1977 autobiography, also wrote about an affair that she said the president and Monroe had.
Journalist Anthony Summers examines the issue of Monroe's relationships with the Kennedy brothers at length in two books: his 1993 biography of FBI Director J. Edgar Hoover, entitled Official and Confidential: The Secret Life of J. Edgar Hoover, and his 1985 biography of Monroe, entitled Goddess. In the Hoover book, Summers concludes that Monroe was in love with President Kennedy and wanted to marry him in the early 1960s; that she called the White House frequently; and that, when the married President had to break off their affair, Monroe became even more depressed, and then turned to Robert Kennedy, who visited Monroe in Los Angeles the day that she died.
Patricia Seaton Lawford, the fourth wife of actor Peter Lawford, also deals with the Monroe-Kennedy matters in her 1988 biography of Peter Lawford, entitled The Peter Lawford Story. Lawford's first wife was Patricia Kennedy Lawford, the sister of John and Robert; Lawford was very close to the Kennedy family for over a decade, including the time of Monroe's death.
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1962 "Happy Birthday Mr. President"
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Name | Lester Young |
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Background | non_vocal_instrumentalist |
Birth name | Lester Willis Young |
Alias | "Prez" |
Born | August 27, 1909Woodville, Mississippi, U.S. |
Died | March 15, 1959New York City, New York, U.S. |
Origin | Kansas City, Missouri, U.S. |
Instrument | Tenor saxophone, clarinet |
Genre | Jazz |
Occupation | Saxophonist, clarinetist |
Years active | 1933–1959 |
Label | Verve |
Lester Willis Young (August 27, 1909 – March 15, 1959), He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson and Jo Jones. Young played clarinet as well as tenor in these sessions. He was a master of the clarinet, and there too, his style was entirely his own. As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman.
After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life - see below).
During this period, Young accompanied the singer Billie Holiday in a couple of studio sessions in 1940 and 1941, and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the American Federation of Musicians' recording ban.
In December 1943, Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the wooden reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944, Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Some jazz historians have argued that Young's playing power declined in the years following his army experience, though critics such as Scott Yanow disagree with this entirely. Recordings show that his playing began to change before he was drafted. Some argue that Young's playing had an increasingly emotional slant to it, and the post-war period featured some of his greatest renditions of ballads.
While the quality and consistency of his playing ebbed gradually in the latter half of the 1940s and into the early 1950s, he also gave some brilliant performances during this stretch. Especially noteworthy are his performances with JATP in 1946, 1949, and 1950. With Young at the 1949 JATP concert at Carnegie Hall were Charlie Parker and Roy Eldridge, and Young's solo on "Lester Leaps In" at that concert is a particular standout among his performances in the latter half of his career.
He emerged from this treatment improved. In January 1956 he recorded two Granz-produced sessions featuring pianist Teddy Wilson (who had led the Billie Holiday recordings with Young in the 1930s), trumpet player Roy Eldridge, trombonist Vic Dickenson, bassist Gene Ramey, and drummer Jo Jones - available on the Jazz Giants '56 and Prez and Teddy albums. 1956 was a relatively good year for Lester Young, including a tour of Europe with Miles Davis and the Modern Jazz Quartet and a successful stint at Olivia's Patio Lounge in Washington, DC.
Throughout the 1940s and 50s, Young had sat in on Count Basie Orchestra gigs from time to time. The best-known of these is their July 1957 appearance at the Newport Jazz Festival, the line-up including many of Lester's old buddies: Jo Jones, Roy Eldridge, Illinois Jacquet and Jimmy Rushing. His playing was in better shape, and he produced some of the old, smooth toned flow of the 1930s. Among other tunes he played a moving "Polkadots and Moonbeams", which was a favorite of his at that time.
Lester Young made his final studio recordings and live performances in Paris in March 1959 with drummer Kenny Clarke at the tail end of an abbreviated European tour during which he ate next to nothing and virtually drank himself to death. He died in the early morning hours of March 15, 1959, only hours after arriving back in New York, at the age of 49. He was buried at the Cemetery of the Evergreens in Brooklyn. According to jazz critic Leonard Feather, who rode with Holiday in a taxi to Young's funeral, she said, "I'll be the next one to go." Holiday died four months later at age 44.
Young's playing style influenced many other tenor saxophonists. Perhaps the most famous and successful of these were Stan Getz and Dexter Gordon, but he also influenced many in the cool movement such as Zoot Sims, Al Cohn, and Gerry Mulligan. Paul Quinichette modeled his style so closely on Young's that he was sometimes referred to as the 'Vice Prez' (sic). Sonny Stitt began to incorporate elements from Lester Young's approach when he made the transition to tenor saxophone. Lester Young also had a direct influence on young Charlie Parker ("Bird"), and thus the entire be-bop movement. Indeed, recordings of Parker on tenor sax are similar in style to that of Young. Lesser known saxophonists, such as Warne Marsh, were strongly influenced by Young.
Don Byron recorded the album Ivey-Divey in gratitude of what he learned from studying Lester Young's work, modeled after a 1946 trio date with Buddy Rich and Nat King Cole. "Ivey-Divey" was one of Lester Young's common eccentric phrases.
Young is a major character in English writer Geoff Dyer's 1991 fictional book about jazz, . "The Resurrection of Lady Lester" by OyamO (Charles F. Gordon) is a play and published book depicting Young's life; subtitled "A Poetic Mood Song Based on the Legend of Lester Young".
In the 1986 film Round Midnight, the fictional main character Dale Turner, played by Dexter Gordon, was partly based on Young - incorporating flashback references to his army experiences, and loosely depicting his time in Paris and his return to New York just before his death.
Acid Jazz/boogaloo band the Greyboy Allstars song "Tenor Man" is a tribute to Young. On their 1999 album "Live", saxophonist Karl Denson introduces the song by saying, "now some folks may have told you that Lester Young is out of style, but we're here to tell you that the Prez is happenin' right now." Those were literally the lyrics Rahsaan Roland Kirk wrote and sang to the melody of the Charles Mingus elegy, "Goodbye Pork Pie Hat".
Peter Straub's short story collection Magic Terror (2000) contains a story called "Pork Pie Hat", a fictional account of the life of Lester Young. Straub was inspired by Young's appearance on the 1957 CBS-TV show, The Sound of Jazz, which he watched repeatedly, wondering how such a genius could have ended up such a human wreck.
He is said to have popularized the term cool as slang for something fashionable. Another slang term he coined was the term "bread" for money. He would ask "How does the bread smell?" when asking how much a gig was going to pay.
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In 1887, an American tour was arranged and after three months of performances that included fifty recitals, seventeen of which were at the Metropolitan Opera House, the Society for the Prevention of Cruelty to Children stepped in, citing the boy's fragile health. However, as per the contract that had paid Hofmann $10,000, he was legally obliged to complete the tour. The contract was rendered void by Alfred Corning Clark who donated $50,000 and, in turn, legally forbade Hofmann to perform in public until he turned 18 years old. The final segment of the tour was cancelled and the family returned to Potsdam, outside Berlin. This marked the end of Hofmann's child prodigy years. (See for details.) At the age of 12, young Josef Hofmann was probably the first pianist of note to record on Edison's phonograph; Hans von Bülow recorded a Chopin Mazurka on Edison's improved phonograph the same year, i.e., 1888. .
Suggested examples illustrating Hofmann's style: Although a poor sight reader, he was said to possess the ability of Liszt and Saint-Saëns to hear a composition once and play it back correctly without seeing the printed notes. Rosina Lhévinne recalled that Hofmann heard her husband Josef Lhévinne play Liszt's Lorelei, a piece Hofmann had never heard but went on to play it "just like my Josef (Lhevinne)" for an encore at his concert later that day..
Cylinders recorded c. 1890 for Thomas Edison were some of the earliest recordings of classical music and were lost during World War I. Four cylinders made in Russia in 1895–1896, with music by Mendelssohn, Louis Brassin and Rubinstein, have been recently discovered and issued on CD HMV and RCA unsuccessfully pursued recording projects with Hofmann in the 1930s. Rachmaninoff dedicated his Piano Concerto No. 3 (1909) to Hofmann although Hofmann disliked it and never played it. Older generation critics such as James Huneker labeled Hofmann the "king of pianists", and Samuel Chotzinoff called him the "greatest pianist of our time." Contemporaries such as Rachmaninoff, Ignaz Friedman, Josef Lhévinne, and Godowsky considered Hofmann to be, overall, the greatest pianist of their generation, but the acclaim was not so universal from the next generation of pianists. Hofmann's own student Shura Cherkassky compared Horowitz favorably with Hofmann as follows: "Hofmann was possibly the greater musical mind. But, I think, Horowitz was the greater pianist, the greater virtuoso—he somehow appealed to the whole world. Hofmann could not communicate on that level".
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Her first novel, Bonjour Tristesse (Hello Sadness), was published in 1954, when she was 19 years old, and it was an immediate international success. It concerns the life of pleasure-driven 17-year-old Cécile, in particular her relationship with her boyfriend and her adulterous, playboy father. The novel allegedly influenced the Simon & Garfunkel song "The Sounds of Silence," the first words of which, "Hello darkness", echo Sagan's title. Her pseudonym was taken from a character ("Princesse de Sagan") in Marcel Proust's À la recherche du temps perdu (In Search of Lost Time).
Sagan's characters became something of an icon for disillusioned teenagers, in some ways similar to those of J.D. Salinger. During a literary career lasting until 1998, she produced dozens of works, many of which have been filmed. She maintained the austere style of the French psychological novel even while the nouveau roman was in vogue. The conversations between her characters are often considered to contain existential undertones. In addition to novels, plays, and autobiography, she wrote song lyrics and screenplays.
In the 1960s, Sagan became more devoted to writing plays, which, though lauded for excellent dialogue, were only moderately successful. Afterward, she concentrated on her career as a novelist.
Fond of traveling in the United States, she was often seen with Truman Capote and Ava Gardner. On 14 April 1957, while driving her Aston-Martin sports car, she was involved in an accident that left her in a coma for some time. She also loved driving her Jaguar automobile to Monte Carlo to gambling sessions.
In the 1990s Sagan was charged with and convicted of possession of cocaine.
At various times of her life, Sagan was addicted to a number of drugs. She was a long-term user of prescription pills, amphetamines, cocaine, morphine, and alcohol. When the police came for an inspection of her house, her dog Banko showed cocaine to them and also licked the cocaine. Sagan told the police, "Look! he likes it too."
In his memorial statement, the French President Jacques Chirac said: "With her death, France loses one of its most brilliant and sensitive writers - an eminent figure of our literary life."
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