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Betty Co-Ed
Rudy Vallee

[Written by J Paul Fogarty and Rudy Vallee]

Flirtation is an art with Betty Co-ed
Her station quite depends upon her charms
She gets the men in rushes by well-cultivated blushes
And she's happy with a fellow on each arm

Betty Co-ed has lips of red for Harvard
Betty Co-ed has eyes of Yale's deep blue
Betty Co-ed's a golden haired for Princeton
Her dress I guess is black for old Purdue

Betty Co-ed's a smile for Pennsylvania
Her heart is Dartmouth's treasure, so 'tis said
Betty Co-ed is loved by every college boy
But I'm the one who's loved by Betty Co-ed

She made a wreck of Carnegie Tech and all its engineers
She did the same at old Notre Dame
Her line is good for years
Roguish eyes, telling lies, breathing sighs

Betty Co-ed has lips of red for Cornell
Betty Co-ed has eyes of Navy blue
Betty Co-ed, the golden haired for Amherst
Her dress I guess is white for Georgia, too

Betty Co-ed's a smile for old Northwestern
Her heart is Texas treasure, so 'tis said
Betty Co-ed is loved by every college boy
But I'm the one who's loved by Betty Co-ed

An Angel by DECLAN GALBRAITH

I wish I had your pair of wings
Had them last night in my dreams
I was chasing butterflies
Till the sunrise broke my eyes
Tonight the sky has glued my eyes
Cause what they see�s an angel hive
I�ve got to touch that magic sky
And greet the angels in their hive

Sometimes I wish I were an angel
Sometimes I wish I were you
Sometimes I wish I were an angel
Sometimes I wish I were you
And all the sweet honey from above
Pour it all over me sweet love
And while you�re flying around my head
Your honey kisses keep me fed

I wish I had a pair of wings
Just like last night in my dreams
I was lost in paradise
I wish I�d never opened my eyes
Sometimes I wish I were an angel
Sometimes I wish I were you

But there�s danger in the air
Tryin� so hard to be unfair
Danger�s in the air
Tryin� so hard to give us a scare
But were not afraid
Sometimes I wish I were an angel
Sometimes I wish I were you
Wish I were you
Oh I wish I were you

I heard it and liked it :wink:

Jerry Lee Lewis - Honey Hush

Oh! Let it roll like a big wheel
In an old hot Georgia cotton field
Well, come in this house, stop all that yakety-yak
Come in this house, pretty woman, won't you stop all that yakety-yak
I got news for you baby, gonna knock you down with a baseball bat

You know you keep on jabberin' and talking 'bout this and that
You know you keep on jabberin' and talking 'bout this and that
I know you, pretty baby, you ain't nothing but an alley cat
The Killer knows you, honey!


Woman, you know what the Killer is talkin' about
My God baby, you know what the I'm talkin' about
You better get yourself in this old bedroom and shut your mouth
And I'm singin' hi-ho, hi-ho, hi-ho silver
(A hi-ho, a hi-ho silver),
Hi-ho, hi-ho silver
(Hi-ho, hi-ho silver)
Hi-ho, hi-ho silver
(Hi-ho, hi-ho silver)

One more time!

Hi-ho, hi-ho silver
(Hi-ho, hi-ho silver)
Hi-ho, hi-ho silver
(Hi-ho, hi-ho silver)
Grrrrrrrrrr!




Jerry Lee Lewis - Honky Tonk Heart

I like a place with a jukebox in the corner
Like an old glass of PBR sure hits the spot
I like belly rubbing and people laughing
And a little bit of what goes on in a parking lot

I love that old honky tonk music
Sure do love those old smokey old bars
I love honky tonk women
I guess the Lord gave me a honky tonk heart

I like a place with a shuffle board and a pinball
Where a working man can drink and try his luck
A place where you might find some lovely lady
Who's gonna get it on in a video pickup truck

I love honky tonk music
I love old smokey old bars
I love those honky tonk women
I guess the Lord gave me a honky tonk heart
I do believe the Lord gave me a honky tonk heart

Body and Soul
Paul Whiteman

[Written by Johnny Green
Ed Heyman, Ed Sour and Frank Eyton]

My heart is sad and lonely
For you I sigh, for you dear only
Why haven't you seen it
I'm all for you body and soul
I spend my days in longin'
And wondering why it's me you're wronging
I tell you I mean it
I'm all for you body and soul
I can't believe it
It's hard to conceive it
That you turn away romance
Are you pretending
It looks like the ending
Unless I could have one more chance to prove, dear
My life a wreck you're making
You know I'm yours for just the taking
I'd gladly surrender myself to you body and soul

My life a wreck you're making
You know I'm yours for just the taking
I would gladly surrender myself to you body and soul

Bye Bye Blues
Bert Lown

We're say-in'

Bye, bye blues, bye, bye blues
Bells ring, birds sing
Sun is shin-in', no more pin-in'

Just we two, smil-in' through
Don't sigh, don't cry
Bye bye blues

Bye, bye to all your blues and sorrow
Bye, bye blues

Bye, bye 'cause they'll be gone to-mor-row
Bye, bye blues

Bells will ring and birds all sing
Bells ring, birds sing

Stop your mop-in', keep on hop-in'

The two of us together, just me and you
will keep smil-in' smil-in' through
So don't you sigh, and don't you cry
Bye, bye blues

Can This Be Love?
Arden & Ohman Orchestra

I'm all at sea, can this be love
This mystery, can this be love
I'm in a blue haze where nothing seems quite real
I wander through days with this crazy feeling

What can it be, can this be love
This thing that I keep dreaming of
All through the night 'til I wake at early dawn
Tell me, can this be love

Fred Astaire
From Wikipedia, the free encyclopedia


Birth name Frederic Austerlitz Jr.
Born May 10, 1899
Omaha, Nebraska,
United States
Died June 22, 1987 (aged 88)
Los Angeles, California, U.S.
Spouse(s) Phyllis Livingston Potter (1933-1954)
Robyn Smith (1980-1987)
Academy Awards

Academy Honorary Award (1950)
Nominated: Best Supporting Actor
1974 The Towering Inferno
Emmy Awards

Outstanding Lead Actor - Miniseries/Movie
1958 An Evening with Fred Astaire
1978 A Family Upside Down
Golden Globe Awards

Best Actor - Motion Picture Musical/Comedy
1951 Three Little Words
Cecil B. DeMille Award (1961)
Best Supporting Actor - Motion Picture
1975 The Towering Inferno
BAFTA Awards

Best Supporting Actor
1974 The Towering Inferno

Fred Astaire (May 10, 1899 - June 22, 1987), born Frederick Austerlitz in Omaha, Nebraska,[1] was an American film and Broadway stage dancer, choreographer, singer and actor. His stage and subsequent film career spanned a total of seventy-six years, during which he made thirty-one musical films. He is particularly associated with Ginger Rogers, with whom he made ten films that revolutionized the genre.

Balanchine[2] and Nureyev[3] rated him the greatest dancer of the twentieth century, and he is generally acknowledged to have been the most influential dancer in the history of filmed and televised musicals. He was named the fifth Greatest Male Star of All Time by the American Film Institute.




Early life and career

His father was an Austrian immigrant[1] and a Catholic; his mother was born in the U.S. to Lutheran German parents; Astaire became an Episcopalian in 1912.[4]

Astaire was a name taken by him and his sister Adele Astaire for their vaudeville act in 1905. Family legend attributes it to an uncle surnamed "L'Astaire".[5] Their vaudeville career continued, with mixed fortunes and some interruptions due to the actions of the Gerry Society, until they broke into Broadway with Over The Top in 1917. Many sources state that the Astaire siblings appeared in a 1915 film entitled Fanchon, the Cricket, starring Mary Pickford, but this is uncorroborated. Fred Astaire first met George Gershwin, who was working as a song plugger in Jerome H. Remick's, in 1916 and struck up a close friendship[6] which was to have profound consequences for the subsequent careers of both artists.


During the 1920s, Fred and Adele appeared on Broadway and on the London stage in shows such as Lady Be Good, Funny Face and The Band Wagon, winning popular acclaim with the theater crowd on both sides of the Atlantic. As a team they made a few recordings. They split in 1932, when Adele married her first husband, Lord Charles Cavendish, a son of the Duke of Devonshire. Fred went on to achieve success on his own on Broadway and in London with Gay Divorce, while considering offers from Hollywood.

According to Hollywood folklore, an RKO Pictures screen test report on Astaire, now lost along with the test, is supposed to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures Pandro S. Berman claimed he had never heard it in the 1930s and that it only emerged years later. Astaire, in a 1980 interview on ABC's 20/20 with Barbara Walters, insisted that the report had actually read: "Can't act. Slightly bald. Also dances". However the test was clearly disappointing and in a 1933 studio memo David O. Selznick, who had signed Astaire to RKO and commissioned the test, described it as "wretched". In any event, the test report did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film Dancing Lady.


Fred and Ginger

On his return to RKO Pictures he took fifth billing alongside Ginger Rogers in the 1933 Dolores Del Rio vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence: "The main point of Flying Down to Rio is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing." Although Astaire was initially very reluctant to become part of another dancing team, he was persuaded by the obvious public appeal of the Astaire-Rogers pairing and he went on to make a total of ten musical films with Ginger Rogers.

That partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. The Astaire-Rogers series are among the top films of the 1930s. They include The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), and Carefree (1938). Six out of the nine musicals he created became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios at the time were looking for. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex appeal."[7]. Thus, Astaire easily received the rare benefits of a percentage of the film's profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film. The only other entertainer to receive this treatment at the time was Greta Garbo.

Astaire is credited with two important innovations in early film musicals. First, his insistence that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will." Astaire maintained this policy from The Gay Divorcee (1934) onwards, until he was overruled by Francis Ford Coppola ?- who also fired Hermes Pan ?- when directing Finian's Rainbow (1968). Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as mere spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire - which he termed his "sock solo", a partnered comedy dance routine, and a partnered romantic dance routine.

Dance commentators Arlene Croce and John Mueller consider Rogers to have been Astaire's greatest dance partner,[8] while recognizing that some of his later partners displayed superior technical dance skills, a view shared[9] by Hermes Pan and Stanley Donen.[10] Film critic Pauline Kael adopts a more neutral stance,[11] while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."[12].

Mueller sums up Rogers' abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire,[13] "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."

However, Astaire was still unwilling to have his career tied exclusively to any partnership, having already been linked to his sister Adele on stage. He even negotiated with RKO to strike out on his own with A Damsel in Distress in 1937, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree and The Story of Vernon and Irene Castle and, when both lost money, Astaire left RKO, while Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 for their tenth and final outing in The Barkleys of Broadway.


Dancing and singing prowess



Astaire was a virtuoso dancer, able to convey lighthearted adventuresomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing; according to one anecdote, he was able, when called back to the studio to redo a dance number he had filmed several weeks earlier for a special effects number, to reproduce the routine with pinpoint accuracy, down to the last gesture. Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other African-American rhythms, classical dance and the elevated style of Vernon and Irene Castle, to create a uniquely recognisable dance style which greatly influenced the American Smooth style of ballroom dance, and set standards against which subsequent filmed dance musicals would be judged. He choreographed all his own routines, usually with the assistance of other choreographers, primarily Hermes Pan.

His perfectionism was legendary as was his modesty and consideration towards his fellow artists; however, his relentless insistence on rehearsals and retakes was a burden to some. Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the adulation of such twentieth century dance legends as George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Gene Kelly, Rudolph Nureyev, and Bill Robinson.

Extremely modest about his singing abilities ?- he frequently claimed that he couldn't sing[14] ?- Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" from Gay Divorce (1932); Irving Berlin's "Isn't it a Lovely Day", "Cheek to Cheek" and "Top Hat, White Tie and Tails" from Top Hat (1935), "Let's Face the Music and Dance" from Follow the Fleet (1936) and "Change Partners" from Carefree (1938). He first presented Jerome Kern's "The Way You Look Tonight" from Swing Time 1936); the Gershwins' "They Can't Take That Away From Me" from Shall We Dance (1937), "A Foggy Day" and "Nice Work if You Can Get it" from A Damsel in Distress (1937) and he introduced Johnny Mercer's "One for My Baby" from The Sky's the Limit (1943) and "Something's Gotta Give" from Daddy Long Legs (1955) along with Harry Warren and Arthur Freed's "This Heart of Mine" from Ziegfeld Follies (1946).


Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from Stop Flirting (1923), "Fascinating Rhythm" from Lady, Be Good (1924), "Funny Face" from Funny Face (1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting All My Eggs In One Basket" from Follow the Fleet (1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" from Swing Time (1936), along with The Gershwins' "Let's Call The Whole Thing Off" from Shall We Dance (1937). With Judy Garland he sang Irving Berlin's "A Couple of Swells" from Easter Parade (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Betty Comden and Adolph Green's "That's Entertainment" from The Band Wagon (1953).

Although he possessed a light voice, he was admired for his lyricism, diction and phrasing[15] - the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "The world's greatest musical performer."[16] Irving Berlin considered Astaire the equal of any male interpreter of his songs - "as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song".[17] Jerome Kern considered him the supreme male interpreter of his songs[18] and Cole Porter and Johnny Mercer also admired his unique treatment of their work. And while George Gershwin was somewhat critical[19] of Astaire's singing abilities, he wrote many of his most memorable songs for him.


Other teamings

In 1939, Astaire left RKO to freelance and pursue new film opportunities. He teamed up with other stars, notably with Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946). He was almost outdanced in Broadway Melody of 1940 (1940) by one of his first post-Rogers dance partners, Eleanor Powell. Other partners during this period included Paulette Goddard in Second Chorus (1940), Rita Hayworth in You'll Never Get Rich (1941) and You Were Never Lovelier (1942), Joan Leslie in The Sky's the Limit (1943), and Lucille Bremer in Yolanda and the Thief (1945) and Ziegfeld Follies (1946). Ziegfeld Follies also contains a memorable teaming of Astaire with Gene Kelly.

After announcing his retirement with Blue Skies in 1946, Astaire concentrated on his horse-racing interests and went on to found the Fred Astaire Dance Studios in 1947 - which he subsequently sold in 1966. However, he soon returned to the big screen to replace the injured Gene Kelly in Easter Parade (1948) opposite Judy Garland and Ann Miller, and for a final reunion with Rogers, The Barkleys of Broadway (1949). He then went on to make more musicals throughout the 1950s: Let's Dance (1950) with Betty Hutton, Royal Wedding (1951) with Jane Powell, Three Little Words (1950) and The Belle of New York (1952) with Vera Ellen, The Band Wagon (1953) and Silk Stockings (1957) with Cyd Charisse, Daddy Long Legs (1955) with Leslie Caron, and Funny Face (1957) with Audrey Hepburn. His legacy at this point was thirty musical films in a twenty-five year period. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).


Later career

Astaire did not give up dancing completely, and made a series of four highly-rated, Emmy-winning musical specials for television in 1958, 1959, 1960 and 1968, each featuring Barrie Chase, with whom Astaire enjoyed an Indian summer of dance creativity. The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape.

Astaire's last major musical film was Finian's Rainbow (1968), in which he shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Fort Knox it will multiply. His dance partner was Petula Clark, who portrayed his skeptical daughter. He admitted to being as nervous about singing with her as she confessed to being apprehensive about dancing with him.

Astaire continued to act into the 1970s, appearing in films such as The Towering Inferno (1974) for which he received his only Academy Award nomination in the category of Best Supporting Actor. He appeared in the first two That's Entertainment! documentaries in the mid-1970s, in the second, aged seventy-seven, performing a number of song-and-dance routines with Gene Kelly - his last dance performances in a musical film. In 1976, he recorded a disco-styled rendition of Carly Simon's "Attitude Dancing". In 1978, Fred Astaire co-starred with Helen Hayes in a well-received television film, A Family Upside Down, in which they play an elderly couple coping with failing health. Astaire won an Emmy Award for his performance. He made a well-publicized guest appearance on the science fiction TV series Battlestar Galactica in 1979. His final film was the 1981 adaptation of Peter Straub's Ghost Story.

Personal life





Astaire married for the first time in 1933, to Phyllis Potter (née Phyllis Livingston Baker, 1908-1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906-1981). In addition to Phyllis's son, Eliphalet IV, known as Peter, the Astaires had two children, Fred Jr. (born 1936, he appeared with his father in the movie Midas Run but became a charter pilot and rancher instead of an actor), and Ava, Mrs. Richard McKenzie (born 1942) who remains actively involved in promoting her late father's heritage.

Described by his friend David Niven as "...a pixie ?- timid, always warm-hearted, with a penchant for schoolboy jokes," Astaire was a lifelong horse-racing enthusiast whose horse Triplicate won the 1946 Hollywood Gold Cup. He remarried in 1980, to Robyn Smith, an actress turned champion jockey almost 45 years his junior.

Fred Astaire died in 1987 from pneumonia at the age of 88, and was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California. One last request of his was to thank his fans for their years of support.

Astaire has never[21] been portrayed on film. When alive, Astaire always refused permission for such portrayals saying "However much they offer me, and offers come in all the time, I shall not sell."[22] His will included a clause requesting that no such portrayal ever take place. Commenting on this clause, Astaire said: "It is there because I have no particular desire to have my life misinterpreted, which it would be", adding, in what is believed to have been a reference to his first wife, "I have had various sadnesses in my life."[23]


Trivia

Fred Astaire is biographical entry number 1 at the Internet Movie Database.
Astaire made headlines again at age 78 when hospitalized after breaking his left wrist while riding his grandson's skateboard,[24] and was awarded[25] life membership of the National Skateboard Society. At the time he remarked:[26] "Gene Kelly warned me not to be a damned fool, but I'd seen the things those kids got up to on television doing all sorts of tricks. What a routine I could have worked up for a film sequence if they had existed a few years ago. Anyway I was practicing in my drive-way."
After Astaire had passed away, his widow allowed footage of him to be used in a commercial for Dirt Devil vacuum cleaners in which he dances with a vacuum. His daughter stated she was "saddened that after his wonderful career he was sold to the devil."[27]
He is one of the famous people who appeared on the cover of The Beatles, Sgt. Pepper's Lonely Hearts Club Band album.

Fred Astaire in popular culture

Astaire appeared in issues 11 and 13 of Arn Saba's Neil the Horse.[28]
The alternative band Taking Back Sunday have a song called "I Am Fred Astaire" on their second album, Where You Want to Be.
In the song "Take you on a cruise" from the band Interpol he's mentioned ("I'm timeless like a broken watch, I make money like Fred Astaire").
On the band Lucky Boys Confusion's album titled Throwing The Game, the third song is a song titled "Fred Astaire".
The 1974 Leo Sayer song "Long Tall Glasses" includes the line "Before you can eat, you gotta dance like Fred Astaire."[1]
He's also mentioned in "a nightengale sang in Berkeley Sqaure."

There's a song by British band, James called "Just Like Fred Astaire".
Croatian rock band Pips, Chips and Videoclips have an album titled "Fred Astaire".
British Band "The Bluetones" mention in their song "After Hours" (2002) Fred Astaire with the Lyrics: "So i'll just dance off my cares like Fred Astaire, up here on the table".
On the April 5, 2007 episode of As the World Turns, Maddie Coleman references Fred Astaire when pretending to read from the television listings.
America's rock band Extreme mention his name in the chorus part of their song "Decadence Dance" from their Pornografitti album.

Dimitri Tiomkin
From Wikipedia, the free encyclopedia

Dimitri Zinovievich Tiomkin (Russian: Дмитрий Зиновьевич Тёмкин, Dmitrij Zinov'evič Tëmkin, sometimes translated as Dmitri Tiomkin) (May 10, 1894 - November 11, 1979) was a three-time Academy Award winning film score composer and conductor. Along with Max Steiner, Miklós Rózsa and Franz Waxman, Tiomkin was one of the most productive and decorated film music writers of Hollywood.

Tiomkin was born in Kremenchug, Ukraine and educated at the Saint Petersburg Conservatory in Russia, where he studied piano with Felix Blumenfeld and harmony and counterpoint with Glazunov. In 1920, while working for the Petrograd Military District Political Administration (PUR), he was one of the lead organizers of two revolutionary mass spectacles, the "Mystery of Liberated Labor," a pseudo-religious mystery play for the May Day festivities, and "The Storming of the Winter Palace" for the celebrations of the third anniversary of the Bolshevik Revolution.[1]

He later moved to Berlin, where his father was practising as a doctor, and had some lessons from Busoni. He emigrated in 1925 to the United States and became an American citizen in 1937. Although influenced by Eastern European music traditions, he was able to score typical American movies like Frank Capra's famous Lost Horizon (1937) or It's a Wonderful Life (1946) and also Mr. Smith Goes to Washington (1939), both with James Stewart. He also worked on Fred Zinnemann's High Noon (1952), which also won him a "Best Song" Oscar for "Do Not Forsake Me, Oh My Darlin'(The Ballad of High Noon)". In 1954, he won the Academy Award for best song of the John Wayne film The High and the Mighty.

Many classic scores followed, many of which were also in Western movies, like The High and the Mighty (1954), Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), Rio Bravo (1959), The Alamo (1960), The Guns of Navarone (1961), Town Without Pity (1961), 55 Days at Peking (1963), The Fall of the Roman Empire (1964) and many more.

Besides cinema he was also active in writing for the small screen, writing some memorable television theme-songs, as for Rawhide (1959) and Gunslinger. He was also hired to write the theme for TV's The Wild Wild West (1965), but the producers rejected his themes and hired Richard Markowitz.

Dimitri Tiomkin died in London, England in 1979 and was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.





Awards and nominations

Academy Awards, USA

1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Chaikovsky (1969)
1965 - nominated for "Best Music, Score - Substantially Original" for: The Fall of the Roman Empire (1964)
1964 - nominated for "Best Music, Original Song" AND "Best Music, Score - Substantially Original" for 55 Days at Peking (1963)
1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961) AND for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961)
1961 - nominated for "Best Music, Original Song" AND for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960)
1961 - nominated for "Best Music, Original Song" for The Young Land (1959)
1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958)
1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957)
1957 - nominated for "Best Music, Original Song" for Friendly Persuasion, "Best Scoring of a Dramatic Picture" for "Giant" (1956)
1955 - nominated for "Best Music, Original Song" for The High and the Mighty (1954) and won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for the same movie
1953 - won an Oscar for "Best Music, Original Song" for High Noon (1952)
1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949)
1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944)
1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943)
1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers (1941)
1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)

Golden Globes

1965 for "Best Original Score" for The Fall of the Roman Empire (1964)
1962 for "Best Motion Picture Score" for The Guns of Navarone (1961) AND for "Best Motion Picture Song" for Town Without Pity (1961)
1961 for "Best Original Score" for The Alamo (1960)
1957 he received the "Special Award" as "Recognition for film music"
1955 he received the "Special Award" "For creative musical contribution to Motion Picture"
1953 for "Best Motion Picture Score" for High Noon (1952)

Anatole Litvak
From Wikipedia, the free encyclopedia

Anatole Litvak (May 10, 1902 - December 15, 1974) was a Ukrainian-born international filmmaker who wrote, directed, and produced films in a variety of countries and languages.




Early years

He was born Mikhail Anatol Litwak into a Jewish family in the city of Kiev in what was then part of the Russian Empire. As a teenager, he worked at a theater in St. Petersburg and took acting lessons at the State drama school. In the 1920s, he would go to Germany where he made films but as a Jew had to flee in the 1930s as a result of the Nazi regime. While living in England he made several successful films there and in France that brought a contract offer from a Hollywood studio.


Private life

In 1937, Litvak became the third husband of American actress Miriam Hopkins. Their short-lived marriage ended in divorce in 1939. He married a second time to costume designer Sophie Steur who worked on some of his films. They remained married until his death.


Career

Litvak served with the United States Army during World War II and joined with fellow director Frank Capra to make the Why We Fight film series. Because of Litvak's ability to speak Russian, German, and French, he played a key role as the head of the army's photography division responsible for documenting the U.S. D-Day landing on Normandy.

At the end of the war, he returned to filmmaking and remained active in Hollywood until the mid-1950s when he began filming in Europe. Most notable was Anastasia (1956) filmed in Paris and starring Ingrid Bergman, Yul Brynner and Helen Hayes. The film was a fictitious imagining of the mystery surrounding the Grand Duchess Anastasia. The movie enjoyed huge commercial success.


Awards and nominations

In 1940, his film All This and Heaven Too was nominated for the Academy Award for Best Picture. In 1948 Litvak was nominated for an Academy Award for Directing for his film The Snake Pit. This film and his 1951 production of Decision Before Dawn were both nominated for an Academy Award for Best Picture. In 1961, at the Cannes Film Festival his Goodbye Again was nominated for the Palme d'Or.

Anatole Litvak died in 1974 in the Parisian suburb of Neuilly-sur-Seine, France.

For his contribution to the motion picture industry, he has a star on the Hollywood Walk of Fame at 6633 Hollywood Blvd.


Trivia

Litvak discovered a seventeen-year-old Gene Tierney on the Warner Bros. lot while she and her family were on a private tour (1937). She had a screen test and was offered a contract. Tierney turn it down because the salary was too low. It would be several years before she returned to Hollywood. In the interim she appeared in four Broadway shows.

Filmography

Dolly macht Karriere (1930)
Nie wieder Liebe (1931)
Coeur de lilas (1932)
Sleeping Car (1933)
L'Équipage (1935)
Mayerling (1936)
The Woman I Love (1937)
Tovarich (1937)
Confessions of a Nazi Spy (1939)
The Sisters (1938)
The Amazing Dr. Clitterhouse (1938)
Castle on the Hudson (1940)
City for Conquest (1940)
All This and Heaven Too (1940)
Out of the Fog (1941)
Blues in the Night (1941)
This Above All (1942)
The Long Night (1947)
Sorry, Wrong Number (1948)
The Snake Pit (1948)
Decision Before Dawn (1951)
Un acte d'amour (1953)
The Deep Blue Sea (1955)
Anastasia (1956)
The Journey (1959)
Goodbye Again (1961)
Five Miles to Midnight (1962)
The Night of the Generals (1967)
The Lady in the Car With Glasses and a Gun (1970)

David O. Selznick
From Wikipedia, the free encyclopedia

Born: May 10, 1902
Pittsburgh, Pennsylvania
Died: June 22, 1965, age 63
Hollywood, Los Angeles, California
Occupation: Producer

David O. Selznick (May 10, 1902-June 22, 1965), was one of the iconic Hollywood producers of the Golden Age. He is best known for producing the epic blockbuster Gone with the Wind (1939) which earned him an Oscar for Best Picture. Not only did Gone with the Wind gross the highest amount of money at the box office of any film ever (adjusted for inflation), but it also won seven additional Oscars and two special awards. Selznick also won the Irving G. Thalberg Memorial Award that same year. He would make film history by winning the Best Picture Oscar a second year in a row for Rebecca (1940).





Biography

Selznick was born to a Jewish family in Pittsburgh, Pennsylvania, the son of silent movie distributor Lewis J. Selznick and Florence A. (Sachs) Selznick. He studied at Columbia University and worked as an apprentice in his father's company until his father went bankrupt in 1923. In 1926, Selznick moved to Hollywood and with his father's connections, got a job as an assistant story editor at MGM. He left MGM for Paramount Pictures in 1928, working there until 1931 when he joined RKO as Head of Production. His years at RKO were fruitful and he guided many notable films there, including A Bill of Divorcement (1932), What Price Hollywood (1932) and King Kong (1933). While at RKO, he also gave George Cukor his big directing break. In 1933 he returned to MGM to establish a second prestige production unit to parallel that of Irving Thalberg who was in poor health. His blockbuster classics included Dinner at Eight (1933), David Copperfield (1935), Anna Karenina (1935) and A Tale of Two Cities (1935).

But Selznick was restless and longed to be an independent producer and establish his own studio. In 1935 he realized that goal by forming Selznick International Pictures and distributing his films through United Artists. His successes continued with classics such as The Garden of Allah (1936), The Prisoner of Zenda (1937), A Star Is Born (1937), Nothing Sacred (1937), Made For Each Other (1939), Intermezzo (1939) and of course, his magnum opus, Gone with the Wind (1939). In 1940, he produced his second Best Picture Oscar winner in a row, Rebecca, the first Hollywood production for British director Alfred Hitchcock. Selznick had brought Hitchcock over from England, launching the director's American career. Rebecca was Hitchcock's only film to win Best Picture.

After Rebecca, Selznick closed Selznick International Pictures and took some time off. His business activities included loaning out to other studios for large profits the high-powered talent he had under contract including Hitchcock, Ingrid Bergman, Vivien Leigh and Joan Fontaine. He also developed film projects and sold the packages to other producers. In 1944 he returned to producing pictures with the huge success Since You Went Away, which he wrote. He followed that with the classic Spellbound (1945) as well as Portrait of Jennie (1948). In 1949, he co-produced the memorable Carol Reed picture The Third Man.

After Gone with the Wind, Selznick spent the rest of his career trying to top that landmark achievement. The closest he came was with Duel in the Sun (1946). With a huge budget, the film is renowned for its stellar cast, its sweeping cinematography and for causing all sorts of moral upheaval because of the then risqué script written by Selznick. And though it was a troublesome shoot with a number of directors, the film would turn out to be a major success. The film was the second highest grossing film of 1947 and turned out to be the first movie that Martin Scorsese would see, inspiring the director's career.

"I stopped making films in 1948 because I was tired," Selznick later wrote. "I had been producing, at the time, for twenty years . . . . Additionally it was crystal clear that the motion-picture business was in for a terrible beating from television and other new forms of entertainment, and I thought it a good time to take stock and to study objectively the obviously changing public tastes . . . . Certainly I had no intention of staying away from production for nine years."[1] Selznick spent most of the 1950s obsessing about nurturing the career of his second wife Jennifer Jones. His last film, the big budget production, A Farewell to Arms (1957) starring Jones and Rock Hudson, was ill received. But in 1954, he ventured successfully into television, producing a two hour extravaganza called Light's Diamond Jubilee, which, in true Selznick fashion, made TV history by being telecast simultaneously on all networks.

Selznick died in 1965 following several heart attacks, and was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

In addition to his stellar filmography, Selznick had a keen instinct for new talent and will be remembered for introducing American movie audiences to Fred Astaire, Katharine Hepburn, Ingrid Bergman, Vivien Leigh and Louis Jourdan as well as director Alfred Hitchcock. Selznick continued to be a larger than life Hollywood presence right up to the end of his life. A fascinating study in contrasts, this passionate, creative, obsessed product of the motion picture business remains an integral part of film making history.

Despite the debt many of his discoveries owe him and his undoubtable dedication to film-making, Selznick is considered to be the stereotypical version of the film producer to whom his modern equivalents are often compared to - one who constantly interfered with the creative process of film-making and earned as many enemies as friends. Alfred Hitchcock, whose film Spellbound was edited on Selznick's insistence, grew resentful of his nature and decided to produce his own films from Notorious onwards. Selznick also battled with Carol Reed during the production of The Third Man and edited the film for its American release. Perhaps the most famous example of his interference was during the production of Powell and Pressburger's Gone to Earth starring his wife Jennifer Jones. After production, Selznick disliked the film and removed almost an entire third of it for its American release, under the title The Wild Heart. Selznick lost a court case with Powell & Pressburger to control all versions of the film but he retained control of the American release so he proceeded to cut and change various sections back in Hollywood.

However, it is generally conceded that had Selznick not been such a meddlesome perfectionist, his best films would not have been the masterpieces that they were. One memorable example, revealed in the book Memo From David O. Selznick, concerned the 1940 film Rebecca. When he was submitted the screenplay for approval, Selznick was shocked to discover that Alfred Hitchcock, the film's director, had allowed Daphne du Maurier's original novel to be changed so that it was virtually unrecognizable, even to the point of introducing unnecessarily comic scenes not in the book. The furious Selznick wrote Hitchcock a blistering memo, and forced Hitchcock to remain faithful to the novel.


Other Facts


David O. Selznick's real name was simply David Selznick. It is sometimes claimed that the "O" stands for Oliver, but, in fact, the initial was an invention of his. The book Memo from David O. Selznick[2] starts with this autobiographical memoir:
I have no middle name. I briefly used my mother's maiden name, Sachs. I had an uncle, whom I greatly disliked, who was also named David Selznick, so in order to avoid the growing confusion between the two of us, I decided to take a middle initial and went through the alphabet to find one that seemed to me to give the best punctuation, and decided on "O."
Alfred Hitchcock made subtle reference to this in North by Northwest where Cary Grant's character Roger Thornhill uses the monogram ROT and says the O stands for "nothing". He also dressed the antagonist of Rear Window to look like Selznick.
Selznick married Irene Gladys Mayer, daughter of MGM mogul Louis B. Mayer, in 1930. They divorced in 1948. They had two sons, Daniel Selznick and Jeffrey Selznick.
Selznick married actress Jennifer Jones in 1949. They had one daughter, Mary Jennifer Selznick, who committed suicide in 1975.
Selznick's brother Myron Selznick became one of the most powerful agents in Hollywood, defining the profession for those that followed. He died in 1944.
For his indelible contribution to the motion picture industry, David O. Selznick has a star on the Hollywood Walk of Fame at 7000 Hollywood Blvd., in front of the historic Hollywood Roosevelt hotel.

Film Library

After Selznick's death, his estate sold the rights to a majority of his post-1935 films to ABC (now part of Disney/Buena Vista), although MGM retained the rights to Gone with the Wind (today part of the Turner Entertainment library), and 20th Century Fox still holds rights to the remake of A Farewell to Arms.

Jack wakes up at home with a huge hangover he can't believe.
He forces himself to open his eyes, and the first thing
he sees is a couple of aspirins next to a glass of water
on the side table. And,next to them, a single red rose!

He sits down and sees his clothing in front of him,all
clean and pressed.

Jack looks around the room and sees that it is in perfect
order. Spotlessly clean. So is the rest of the house. He
takes the aspirins, cringes when he sees a huge black eye
staring back at him in the bathroom mirror, and notices a
note on the table: "Honey, breakfast is on the stove,
I left early to go shopping--Love you!"

He stumbles to the kitchen and sure enough, there is a
hot breakfast and the morning newspaper. His son is also
at the table, eating.

Jack asks, "Son...what happened last night?"

"Well, you came home after 3 A.M., drunk and out of
your mind. You broke some furniture, puked in the
hallway, and got that black eye when you ran into the
door."

"So, why is everything in such perfect order, so clean,
I have a rose, and breakfast is on the table waiting
for me?"

His son replies, "Oh THAT!... Mom dragged you to the
bedroom, and when she tried to take your pants off,
you screamed, "Leave me alone, lady, I'm married!'"

Broken furniture - $85.26
Hot Breakfast - $4.20
Red Rose bud -$3.00
Two Aspirins -$.38
Saying the right thing, at the right time.........Priceless.

Cheerful Little Earful
Tom Gerun & his Orchestra

[Words by Ira Gershwin and Billy Rose]
[Music by Harry Warren]

There's a cheerful little earful
Gosh I miss it something fearful
And this cheerful little earful
Is the well known "I love you"

Stocks can go down
Bus'ness slow down
But the milk and honey flow down
With a cheerful little earful
Of the well known "I love you"

In ev'ry play it's a set phrase
What the public get phrase
But as a pet phrase
It'll do, do, do
Poopa, rooit soft and cuit
Make me happy you can do it
With a cheerful little earful
Of the well known "I love you"

Good afternoon WA2K.

Remembering:



Have you seen the well-to-do, up and down Park Avenue
On that famous thoroughfare, with their noses in the air
High hats and Arrow collars, white spats and lots of dollars
Spending every dime, for a wonderful time

If you're blue and you don't know where to go to
why don't you go where fashion sits,
Puttin' on the ritz.

Different types who wear a day coat, pants with stripes
and cutaway coat, perfect fits,
Puttin' on the ritz.

Dressed up like a million dollar trouper
Trying mighty hard to look like Gary Cooper (super duper)

Come let's mix where Rockefellers walk with sticks
or umberellas in their mitts,
Puttin' on the ritz.

If you're blue and you don't know where to go to
why don't you go where fashion sits,
(Puttin' on the ritz)
(Puttin' on the ritz)
(Puttin' on the ritz

Cryin' For The Carolines
Fred Waring's Pennsylvanians

[Words by Sam H Lewis and Joe Young]
[Music by Harry Warren]

Big town you lured me
Big town you cured me
Tho' others hate to say goodbye to you
I'm leavin' but I'll never sigh for you
Big town you robbed me of ev'ry joy I knew

Where is the song I had in my heart
That harmonized with the pines
Anyone can see what's troublin' me
Cryin' for the Carolines
Where is the brook that kisses the lane
Covered with "Glory Vines"
Anyone can see what's troublin' me
I'm crying for the Carolines.
How can I smile mile after mile
There's not a bit of green here
Birdies all stay far far away
They're seldom ever seen here
Where is the gal that I used to meet
Down where the pale moon shines
Anyone can see what's troublin' me
I'm crying for the Carolines

Small town you've sold me
Small town you'll hold me
You said that I'd have nothing but regret
I've cried the blues to ev'ry one I've met
Small town you gave me all that I'll ever get

Where is the song I had in my heart
That harmonized with the pines
Anyone can see what's troublin' me
Cryin' for the Carolines
Where is the brook that kisses the lane
Covered with "Glory Vines"
Anyone can see what's troublin' me
I'm crying for the Carolines.
How can I smile mile after mile
There's not a bit of green here
Birdies all stay far far away
They're seldom ever seen here
Where is the gal that I used to meet
Down where the pale moon shines
Anyone can see what's troublin' me
I'm crying for the Carolines

Dancing With Tears In My Eyes
Nat Shilkret

[Written by Al Dubin and Joe Burke]

For I'm dancing with tears in my eyes
'Cause the girl in my arms isn't you
Dancing with somebody new
When it's you that my hearts calling to

Trying to smile, once in a while
But I find it so hard to do
For I'm dancing with tears in my eyes
'Cause the girl in my arms isn't you

another tune by the debonair Mr. Astaire

Heaven, I'm in Heaven,
And my heart beats so that I can hardly speak;
And I seem to find the happiness I seek
When we're out together dancing, cheek to cheek.

Heaven, I'm in Heaven,
And the cares that hang around me thro' the week
Seem to vanish like a gambler's lucky streak
When we're out together dancing, cheek to cheek.

Oh! I love to climb a mountain,
And to reach the highest peak,
But it doesn't thrill me half as much
As dancing cheek to cheek.

Oh! I love to go out fishing
In a river or a creek,
But I don't enjoy it half as much
As dancing cheek to cheek.

Dance with me
I want my arm about you;
The charm about you
Will carry me thro' to Heaven

I'm in Heaven,
and my heart beats so that I can hardly speak;
And I seem to find the happiness I seek
When we're out together dancing cheek to cheek.

And one more Astaire/Irving Berlin song.

It only happens when I dance with you
That trip to heaven 'till the dance is through
With no one else do the Heavens seem quite so near
Why does it happen, dear only with you?

Two cheeks together can be so divine
But only when those cheeks are yours and mine
I've danced with dozens of others the whole night through,
But the thrill that comes with Spring when anything could happen,
That only happens with you.

Exactly Like You
Ruth Etting

[Words and Music by Dorothy Fields and Jimmy McHugh]

I used to have a perfect sweetheart
Not a real one, just a dream
A wonderful vision of us as a team
Can you imagine how I feel now
Love is real now
It's ideal
You're just what I wanted
And now it's nice to live
Paradise to live

I know why I've waited
Know why I've been blue
Prayed each night for somone exactly like you
Why should we spend money on a show or two
No one does those love scenes exactly like you

You make me feel so grand
I want to hand the world to you

You seem to understand
Each foolish little scheme I'm scheming
Dream I'm dreaming
Now I know why mother taught me to be true
She meant me for someone exactly like you

Fine and Dandy
Arden & Ohman Orchestra

Gee, it's all fine and dandy
Sugar Candy when I'm with you
Then I only see the sunny side
Even trouble has it's funny side
When you're gone Sugar Candy
I get lonesome, I get blue
When you're handy, It's fine and dandy
But when you're gone what can I do

For You
John Boles

I will gather stars out of the blue
For you , for you
I'll make a string of pearls out of the dew
For you, for you
Over the highway and over the street
Carpets of clover I'll lay at your feet
Oh, there's nothing in this world
I wouldn't do
For you, for you