Remembering Rose Marie: 90 Years a Trouper


Few entertainers in history enjoyed as long a career as did Rose Marie, born 100 years ago today. Her career began when she was just four years old (known then as Baby Rose Marie, she had a weekly radio program that was broadcast nationally before Shirley Temple was even born), and she went on to enjoy success in vaudeville, radio, records, motion pictures, Broadway, and television.

In 2017, a delightful documentary, Wait for Your Laugh, was released that told the story of her amazing life and career, and we’re delighted to share a very lightly edited transcript of a telephone conversation we had with her shortly after the film’s release. Buckle your seat belts; it’s a delightfully wild ride. As you’ll soon see, even at 94, Rose Marie was as sharp and as funny as ever.

Cladrite Radio:  I have a lot of things I’d like to talk to you about.

Rose Marie:  First of all, let me ask you a question.

Cladrite Radio:  Sure.

Rose Marie:  Did you see the movie [Wait for Your Laugh]?

Cladrite Radio:  I did!

Rose Marie:  What’d you think of it?

Cladrite Radio:  I loved it. I thought it was great.

Rose Marie:  What’d you like about it?

Cladrite Radio:  I’m very interested in the popular culture of the 1920s, ‘30s and ‘40s, in addition to …

Rose Marie:  That’s my era.

Cladrite Radio:  It sure is. I am involved with an online radio station that features music of that era. We play some of your records on the station.

Rose Marie:  Oh, nice.

Cladrite Radio:  When I got the chance to interview you, I was so excited. I’m a fan of your music, and I grew up with you on TV as well.

Rose Marie:  I know, everybody says that. It makes me feel so old.

Cladrite Radio:  Oh, well, I’m not so young myself.

Rose Marie:  I’m 94, wanna bet?

Cladrite Radio:  You’re doing great. You’re probably doing better at 94 than I am at 59.

Rose Marie:  Okay.

Cladrite Radio:  I wanted to ask you about the documentary. Whose idea…

Rose Marie:  I’m very happy to tell you. I’m very proud of it. I love it. I’m so proud of [director] Jason Wise, I can’t stand it. I think he’s a genius. I think he’s going to be one of the biggest men in the business in a couple years. I think this will introduce him to everybody. I think he’ll even be bigger than Steven Spielberg.

Cladrite Radio:  I’ll bet he wouldn’t mind that a bit.

Rose Marie:  Oh, he’s wonderful. You have no idea. You don’t know how particular he is. When we decided to do this thing, I kept everything from the time I was three years old. Postcards, pictures, film, anything I had, I kept. When he talked about doing the documentary, he says, “Let’s talk.” I said, “I have everything in scrapbooks. Why don’t you just go through everything?” I emptied out my house, and I mean he cleaned me out of everything. He put it in that documentary. Just a genius.

Cladrite Radio:  All the materials that we see in the documentary, the film clips we see and some of the programs and promotional materials and various things that are included in it…

Rose Marie:  All mine. All mine that he dug up out of my house.
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A Celebration of African-American Artists

On Cladrite Radio, we proudly feature the marvelous talents of many great African-American artists, performers whose musical gifts have brightened our days, lightened our loads and touched our hearts for decades. It’s painful to think that these giants experienced bigotry, racism and in some cases even physical violence during their lives, and it’s heartbreaking to be reminded that our country’s racist heritage is not yet a thing of the past, that in too many dark corners, it still festers and that precious lives continue to be lost to this hatred.

We want our African-American friends, listeners and followers—and all of our listeners and followers who stand for justice and equality in the US and around the world—to know that we love them, we respect them and we want what they want: a just society that values Black lives every bit as much as all other lives.

In celebration of the great Black artists who have so enriched our lives and in honor of—and solidarity with—those African Americans, past and present, whose lives have been impacted (and too often, ended prematurely) by bigotry and racist hatred, we are, beginning at midnight ET tonight (Friday, June 5), devoting 48 hours solely to music created by Black bandleaders, musicians and singers. We hope you’ll tune in throughout the weekend. #BLM

The Twisting Path to a Merry Little Christmas

Our favorite Christmas song has long been Mel Tormé and Bob Wells’ The Christmas Song, made famous by Nat “King” Cole (and really, no one else need tackle the song—every other artist who’s taken a stab at it has fallen short, in our eyes), but coming in a close second is Have Yourself a Merry Little Christmas, credited to Hugh Martin and Ralph Blane (though Martin has since claimed he wrote it alone, with Blane’s encouragement) and introduced by Judy Garland in Vincent Minnelli‘s Meet Me in St. Louis (1944).

Judy Garland in 'Meet Me in St. Louis'

From its familiar opening lyrics—Chestnuts roasting on an open fire, Jack Frost nipping at your nose, yuletide carols being sung by a choir, and folks dressed up like EskimosThe Christmas Song celebrates an idyllic holiday season, but let’s face it, for many, the holidays carry with them a tinge of melancholy—especially in difficult times like these—and Have Yourself a Merry Little Christmas openly acknowledges the bluer side of the yuletide.

In the lyrics as we know them, that melancholy is leavened by a certain “keep-your-chin-up sticktuitiveness,” but it wasn’t always so.

The first set of lyrics Martin delivered, which I found in this very informative 2007 Entertainment Weekly story by Chris Willman, were downright maudlin, intended to fit the mood of Garland’s character, who, at the point in the picture at which she sings the song, is upset that her father is moving the family from her beloved St. Louis to New York City.

The story has it that director Minnelli and Garland urged Martin to come up with something just a bit less gloomy, and he agreed, soon delivering a second set of lyrics, the ones Garland sings to young sister Margaret O’Brien in the movie.

Then, in 1957, Frank Sinatra, who was recording a Christmas album called A Jolly Christmas, asked Martin to kick the the Christmas cheer up yet another notch. He specifically asked the composer to revisit the line in the final verse about “muddling through,” and that’s how we came to have the line about hanging a shining star upon the highest bough in yet a third set of lyrics to the song.

Most folks are familiar with versions two and three—Linda Ronstadt melds the two sets of lyrics in her recording of the song—if not with the original gloomy lyrics.

But did you know Martin wrote a fourth set of lyrics? In 2001, the composer, then 86 years old, wrote an overtly religious set of lyrics to the song, entitled Have Yourself a Blessed Little Christmas.

Listen: Judy Garland—Have Yourself a Merry Little Christmas


Listen: Frank Sinatra—Have Yourself a Merry Little Christmas

This post originally appeared in slightly different form on December 10, 2010.

Happy 98th Birthday, Nat “King” Cole!

Nat “King” Cole was born Nathaniel Adams Coles 98 years ago today in Montgomery, Alabama. One of the true giants of American music, Cole, as well-regarded as he still is, does not, in our opinion, get sufficient credit for his talents, accomplishments and contributions. Here are 10 NKC Did-You-Knows:

  • Cole was the second of five children born to Edward and Perlina Coles. The family moved to Chicago when Cole was four, where his father entered the ministry. Cole’s mother was a church organist who gave young Nat his first keyboard instruction. He began to take formal lessons at 12 and learned to play pop, jazz and even classical music.
  • Cole attended Wendel Phillips High School, where gospel and R&B legend Sam Cooke also attended some years later. Cole began performing professionally as a teenager, dropping the S from Coles and shortening his first name to Nat. His older brother, Eddie, a bass player, was a member of Cole’s first band.
  • The two siblings cut their first record, under Eddie’s name (probably because Nat was still a minor), in 1936. It was during this time that Nat was given his “King” nickname, said to be a play on the Old King Cole nursery rhyme.
  • Cole found his first success as part of a trio (though they weren’t yet the King Cole Trio, as they would come to be known, but the King Cole Swingsters). Radio was key to their rise in popularity, and they became a popular act in the Los Angeles area. Nat’s piano playing was his claim to fame, but he had started to add vocals to a number of the tunes in the trio’s repertoire.
  • In 1943, Nat “King” Cole and the trio signed with the fledgling Capitol Records, and their success financed the company’s growth. To this day, the round structure that is the company’s headquarters, built in Hollywood in 1956, is referred to as “the house that Nat built.”
  • That same year, Cole notched his first mainstream vocal hit with Straighten Up and Fly Right, one of his own compositions. The song based on an African-American folk tale that his father had used in his sermons.
  • In 1944, Cole became a Freemason, joining Southern California’s Thomas Waller Lodge No. 49, which was named in honor of jazz legend “Fats” Waller.
  • Cole’s popularity in the 1950s was unprecedented for an African-American performer. In that decade, though it’s not well remembered today, Cole’s records outsold Frank Sinatra‘s by a wide margin. Cole even recorded a trio of albums in Spanish (phonetic only—he didn’t hablan español). His Spanish was reportedly pretty bad, but many Spanish-speaking listeners found his clumsy efforts charming and his popularity only increased.
  • Cole became so popular that on November 5, 1956, he began hosting his own television show, The Nat “King” Cole Show,” on NBC; he was the first African-American artist to host such a show. The show did fine in the ratings, but no sponsor for the program was ever found, a must in those days. Just over a year after it hit the airwaves, Cole pulled the plug on the show. The strain of operating a show without a sponsor’s backing was too much. After the show’s demise, Cole was quoted as having quipped, with a mix of good humor and bitterness, “Madison Avenue is afraid of the dark.”
  • In 1964, Nat “King” Cole began to experience fatigue and back pain until finally, some time after collapsing during a show at the Sands Hotel and Casino in Las Vegas, he was convinced to consult with a doctor while performing in San Francisco. He was diagnosed with lung cancer and given just a few months to live, but he kept working, recording his final sessions in early December. He died, aged 45, in Los Angeles on February 15, 1965, less than three months after his diagnosis. The severity of his condition had been largely hidden from the public, so the news of his passing proved a shock to his fans across the country and around the world. It’s painful to think of all the wonderful music he could have created had he lived as long as some of contemporaries, like Sinatra and Tony Bennett.

Happy birthday, Nat “King” Cole, wherever you may be!

Nat King Cole