Happy 100th Birthday, Ella Fitzgerald!

The incomparable Ella Fitzgerald was born 100 years ago today in Newport News, Virginia. Here are 10 EF Did-You-Knows:

  • Though Fitzgerald’s parents were never married, they had lived together for more than two years when she was born. When Fitzgerald was still a young girl, her mother and another partner moved together to Yonkers.
  • Fitzgerald was an excellent student, despite changing schools with frequency. As a young girl, she loved to dance to jazz records, often performing for friends and classmates.
  • Fitzgerald’s family was active in the church, so she grew up hearing hymns and sacred songs in that setting, but she also loved listening to jazz records, especially the recordings of Louis Armstrong, Bing Crosby and the Boswell Sisters (Connee Boswell was a particular favorite). “My mother brought home one of her records, and I fell in love with it,” she would later say. “I tried so hard to sound just like her.”
  • When Fitzgerald was 15, her mother died from injuries suffered in a car accident, and Ella was sent to live with her aunt in Harlem. That didn’t go so well, and Fitzgerald soon became truant at school, her grades soon fell off and she was running with something of a rough crowd. She was sent first to an orphanage and later to a reform school, from which she escaped and took to living (and singing) on the streets.
  • In 1934, when Fitzgerald was 17, she competed in an amateur night at the legendary Apollo Theatre. Her original intention was to dance on stage, but she decided at the last minute to sing, doing her best Connee Boswell impression in performing Judy and The Object of My Affection. She won the top prize of $25.00.
  • Though she’s best remembered today as the kind of grand dame of jazz who played only the classiest of venues, Fitzgerald didn’t always soar in such rarified air: She began her career as just another girl singer for the Chick Webb Orchestra, singing pop and jazz hits for jitterbuggers in dance halls and ballrooms. Not long after her win at the Apollo, she was given the opportunity to perform with Webb at a dance at Yale University as an audition for long-term employment. Webb was skeptical of the gawky and somewhat disheveled Fitzgerald’s suitability for the job, but the Yale students and Webb’s band members both responded positively to her singing, and the job was hers.
  • Soon thereafter She and the Webb outfit enjoyed several chart hits and Fitzgerald became a star in her own right, so much so that when Webb passed away in 1939, the orchestra was renamed Ella Fitzgerald and her Famous Orchestra.
  • In 1942, the erstwhile Webb orchestra disbanded and Fitzgerald went out on her own as a solo artist. She enjoyed a number of hits as the swing era wound down and her scat singing abilities were put to good use during the bebop era. She was now viewed as one of the great jazz vocalists of the day.
  • Fitzgerald eventually began to feel that she was being restricted by the public’s view of her as a bebop singer, Norman Granz, her manager, created the Verve label for her and in 1956 the pair worked together to record The Cole Porter Songbook.
  • Over the next eight years, Fitzgerald recorded a series of eight songbooks, each dedicated to a different composer from the era of the Great American Songbook. It was a groundbreaking concept, one that brought Fitzgerald’s music to a new audience. The songbooks were arguably Fitzgerald’s greatest accomplishment, but she continued to work and grow as an artist as long as her health allowed it. Her last recordings were undertaken in 1991 and her final public performances came in 1993. When she died on June 15, 1996, Ella Fitzgerald was viewed almost universally as one of the greatest vocalists of the 20th century.

Happy birthday, Ms. Fitzgerald, wherever you may be!

Ella Fitzgerald

Happy 101st Birthday, Toby Wing!

Actress Toby Wing was born Martha Virginia Wing in Amelia Court House, Virginia, 101 years ago today. She was never a star, but she’s remembered fondly by old-movie buffs for her many memorable small parts and cameos. Here are 10 TW Did-You-Knows:

  • She took her screen name Toby after the nickname her father had given a horse.
  • After serving in World War I, Wing’s father moved to Hollywood to serve an assistant director and mid-level executive at Paramount Studios. He also served in World War II and was for a time was a prisoner of the Japanese in the Philippines; he survived the infamous Bataan Death March.
  • Her sister Madison was also a film actress, under the name Pat Wing. Madison appeared in 32 pictures between 1923 and 1937, though she generally went uncredited.
  • As a child, Wing took a few small parts in silent pictures before refocusing on her studies at her parents’ insistence.
  • She was romantically paired with an impressive roster of prominent men—Maurice Chevalier, Alfred Vanderbilt, Franklin Roosevelt Jr., Jackie Coogan (Wing and Coogan were engaged for a time) and Pinky Tomlin among them.
  • Wing’s best-remembered role was in the 1933 Warner Brothers musical 42nd Street, where she was the “Young and Healthy” girl opposite crooner Dick Powell.
  • Wing’s career alternated between sizable roles and cameos (with the latter being prevalent). Mostly, she served (and ably so) as eye candy, though she occasionally scored more prominent roles when she appeared in Poverty Row pictures.
  • After being engaged—but not wed—to a long string of men, Wing married prominent aviator Dick Merrill, who was 22 years her senior. Many were skeptical of the union, but the pair enjoyed wedded bliss until Merrill’s death in 1982.
  • Wing appeared on Broadway in Cole Porter‘s You Never Know, a troubled production that lasted just 73 performances; Wing appeared in the production alongside Clifton Webb, Libby Holman and Lupe Velez.
  • Wing and Merrill settled in Miami Beach, Florida, where she dabbled in real estate and taught Sunday School at All Souls’ Episcopal Church into her 80s.

Happy birthday, Toby Wing, wherever you may be!

Toby Wing

Happy Birthday, Cole Porter!

The great Cole Porter was born 124 years ago today in Peru, Indiana. George Gershwin has long been our favorite composer from the Cladrite Era, but we’ve come to appreciate Mr. Porter much more in recent years—so much so that he’s pretty much neck-and-neck with Mr. Gershwin. In any case, there’s certainly room in our world for both (and for so many other great composers of yore).

Here’s to you, Cole, wherever you may be.

Cole Porter quote

Happy birthday, Mr. Porter!

Today marks 122 years since the great Cole Porter was born in Peru, Indiana. Would that he were still with us, composing classic songs.

We’re marking the occasion by sharing our two favorite recordings of his songs: Jeri Southern‘s sublime rendition of “Ev’ry Time We Say Goodbye” and Artie Shaw‘s seminal recording of “Begin the Beguine” (perhaps our favorite big band recording of all time).

Fridays with Rudy: Vagabond Dreams Come True, pt. 6

In Chapter Six of Rudy Vallée’s 1930 memoir, Vagabond Dreams Come True, Rudy continues his tutelage on organizing and leading a dance orchestra in the 1930s (we can’t help but wonder how many of Rudy’s “lessons” would still apply today).

Rudy discusses the role showmanship, and especially clowning, plays in a successful orchestra’s performance. And it’s interesting to note from Rudy’s remarks that, even in 1930, most fans attending a live show by their favorite performers made it a practice to request the orchestra’s most popular hits. We wonder if they held up cigarette lighters when requesting an encore at show’s end?

P.S. If you read till the end, you’ll find a streaming recording of one of the songs Rudy discusses in this chapter, “You’ll Do It Someday, So Why Not Now?” (He cleans up the title a little in the book, calling it “You’ll Love Me Someday, So Why Not Now?”, but he’s not fooling us.)

Chapter VI

PAGING MR. BARNUM

Closely indentified with showmanship, in fact practically part of showmanship (and vice versa) is what the professional terms “hokum”; that is, something to amuse, to attract the eye and to tickle the sense of humor. Very few dance orchestras really use hokum at all, or at least to any extent, and most of those that do use it put it in either between dances or at intermission.

A few, however, were wise enough to realize that as the couples dance around there is very little to occupy their minds unless they are engaged in conversation. Usually I find that the fellow and girl do not converse as they dance; rather does the eye seek something to engage its attention. Of course one may watch the other couples, or those on the side-lines, or the orchestra.
I firmly believe that the dance orchestra will never be replaced by any form of mechanical music, regardless of how lifelike the mechanical orchestra may be; and the reason is not hard to find. The dancers want to watch the music being made and in turn enjoy being watched by the producers of the music. Put several couples in a room with a large orthophonic phonograph and see how quickly they become tired of dancing. Unless it is absolutely impossible to secure a dance orchestra composed of human beings, a crowd will not be content to dance to mechanical forms of music.
That is where hokum comes in. The band that can put on little skits and comedy numbers with props and apparatus while the crowd is dancing has a tremendous edge on dance orchestras that simply produce beautiful, rhythmic music. Such an orchestra may rightly be termed an entertaining orchestra because they engage the eye while they entice the feet to dance and soothe the mind with music.
After the success of our first comedy number I saw that we had the ingredients for a “hokum” band as well as a “sweet” band, and proceed to develop this side of our work.
My little violinist, De Vorzon, is a sort of buffoon. He has a personality that bubbles over and expresses itself in a dozen and one crazy antics and ideas, and as we play up to each other in our comedy numbers he reacts upon me and makes me quite a different individual for the moment.
Then my drummer, Toland, with his extreme size and happy-go-lucky personality, and Miller, my tenor sax, who has a mania for making almost as faces as Lon Chaney, have help make many a comedy number extremely laughable.
The germ of the idea is often mine and the subsequent outline I usually develop, but it is the little extemporaneous bits that the boys themselves think of, that top off or complete the comedy sketches which we present even while the crowd is dancing.
Our first comedy number was a tune which I had been playing for several years. It was an old college tune which had only been played by two bands, our own and the orchestra directed by the boy who wrote the tune. Years before I heard it with each word and or line capable of illustration in pantomime in songs at dances.
The first tune which gave me this idea was a number from one of the early editions of the “Scandals” called “The Gold Diggers.” In this number the word “dig” was illustrated by pantomime digging; the word “swim” by the movement of swimming; “Fifth Avenue” by five fingers of the hand held upright, etc.
Gestures done by one man alone are hardly noticed, but when done by the front line of the band in perfect unison they hold the audience quite spellbound, and it was nothing unusual for the crowd to stop dancing and gather around us during the course of such a chorus.

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