Sunday, August 21, 2016

"Women Haters" Actress Marjorie White CAR ACCIDENT 1935 Hollywood Forever Cemetery


Marjorie White (July 22, 1904(?) – August 21, 1935) was a Canadian-born actress of stage and film.



Career

Born Marjorie Ann Guthrie in Winnipeg, Manitoba, Canada,[1] she was the first-born child of a grain merchant born in Simcoe, Ontario. She entered show business at the age of eight or 10, as one of the Winnipeg Kiddies, a troupe of child performers who toured Canada and the United States. She danced and sang with the troupe until too old to continue, then at 17 in December 1921 went to San Francisco and joined Thelma Wolpa in amateur vaudeville comedy.

Teamed for a time with Thelma Wolpa as Wolpa and Guthrie, Little Bits of Everything, the duo act became 'The White Sisters' in New York City. Both women kept the name White after the act broke up. Thelma White later gained immortality as the blowsy Mae in Reefer Madness. According to the New York Times (August 11, 1924), Marjorie White married Eddie Tierney on August 10, 1924 in Greenwich, Connecticut. She appeared on Broadway in several musicals between 1926 and 1929, when she and her husband moved to Hollywood. In accordance with studio tradition, four years (?) were knocked off her birth date and she was supposedly born in 1908(?). Early biographies of James Cagney, the Marx Brothers and Bing Crosby typically gave birthdates occurring five years after the actual event.



She began getting parts in pictures, starting with leading roles in Happy Days (1929) and Sunny Side Up (1929). The same year she was required by executives of the Fox Film studio to lose four pounds in order to secure a role in The New Orleans Frolic. White was diminutive to begin with, weighing only 103 pounds and standing 4'10" tall. The part called for a woman who weighed less than 100 pounds.[2] She returned to Broadway for a musical, Hot-Cha, in 1932, but came back to Hollywood thereafter.

She will also be recognized by fans of "Charlie Chan" films in a prominent, if brief, uncredited role in the 1931 Fox film "The Black Camel" starring Warner Oland and featuring Bela Lugosi and Robert Young in what may be his first leading role. Marjorie appears as a forward and rather sarcastic young woman among the usual group of suspects held waiting upon the conclusion of Charlie's investigation. She is noticeably somewhat... 'full figured' in this role bordering on being overweight for young film actresses of this era.



In 1933, White had a featured role in the insanely funny Joseph Mankiewciz-scripted political satire "Diplomaniacs" starring the team of Wheeler and Woolsey. Marjorie is Dolores, a fem fatale custom-ordered by the film's villain (she arrives wrapped in plastic from a chute in the wall) to seduce Willy (Bert Wheeler) and steal secret plans from him. Wheeler and White's duet "Sing For Me" is performed while the tiny White physically assaults Wheeler because he is reluctant to sing to her in a terrific send-up of the typical boy-girl romantic song scenes of the era.

She also appeared with Joan Crawford in "Possessed" in 1931. She was also in the Fox feature films Just Imagine and New Movietone Follies of 1930 (both 1930).



White is perhaps best remembered for her co-starring role in the first Three Stooges short made at Columbia Pictures, Woman Haters (1934), in which she played the new wife of Larry Fine, who he needs to keep secret from his fellow Woman-Haters Club members (who are both "pitching woo" at her behind Larry's back). The entire comedy short is done in rhyming verse(!). Woman Haters was her last film.



Death

On August 20, 1935, White was a passenger in a car driven by Marlow M. Lovell on the Roosevelt Highway near the Bel Air Beach Club, in Santa Monica, California. It sideswiped the car of a couple who had been married only an hour before, and overturned. A coroner's jury decided that the reckless driving of Lovell was to blame for the accident. White was riding with Lovell in the open car because another member of the party, Gloria Gould, was without a wrap. Gould was following Lovell's car in another vehicle with White's husband. White was the only person seriously injured. She died of internal hemorrhaging the next day, August 21, 1935, at a Hollywood hospital.



She was buried at Hollywood Memorial Cemetery (now Hollywood Forever Cemetery). She was survived by her husband, her parents Robert and Nettie, and siblings Orville, Morley, Stewart, and Belva.[3][4][5]



Selected filmography

Sunny Side Up (film) (1929) 
Charlie Chan Carries On (1931) 
Possessed (1931)* 
Broadminded (film) (1931) 
Her Bodyguard (1933)*



References

1. Manitoba's Vital Statistics website, Birth Certificate registration #1904,006829 
2. Los Angeles Times, Small Actress Has To Reduce Further, October 4, 1929, Page A10 
3. Winnipeg Free Press, 22 August 1935 
4. Variety, 28 August 1935 
5. Los Angeles Times, Actress' Death In Crash Laid To Reckless Driving, August 24, 1935, Page A3

Sunday, August 7, 2016

Producer David Begelman Suicide 1995 Hillside Cemetery


David Begelman (August 26, 1921 – August 7, 1995) was a Hollywood producer who was involved in a studio embezzlement scandal in the 1970s.



Life and career

Begelman was born to a Jewish family[1] in New York City. His father was a Manhattan tailor.[2]

David was in the Air Force during World War II. he then became a student at New York University. Following college, he worked in the insurance business.[2] He worked at the Music Corporation of America (MCA) for more than 11 years started in the mid-1950s,[2] eventually becoming vice president. He left in 1960 to co-found the talent agency Creative Management Associates (CMA) with Freddie Fields.[2] Their clients included Judy Garland, Barbra Streisand, Liza Minnelli, Woody Allen, Gregory Peck, Paul Newman, Steve McQueen, Jackie Gleason, Fred Astaire and others. At CMA, Fields and Begelman pioneered the movie "package," where the talent agency put their stars, directors and writers together on a single project.[2]

He left CMA in 1973 to take over the floundering Columbia Pictures. Begelman used his package method at Columbia, dramatically changing the company's image by producing such hits as Shampoo (1975), Funny Lady and Close Encounters of the Third Kind (1977).[2] Begelman became among the first Hollywood agents to cross over and rise to the top of the studio system.



Embezzlement scandal

In February 1977, actor Cliff Robertson received a 1099 form from Columbia Pictures indicating he had received $10,000 from Columbia Pictures during 1976. He had never received the money, and discovered that his signature on the cashed check had been forged. Robertson's report started a criminal investigation. The LAPD and the FBI verified that the $10,000 check was a forgery, and it was tracked to Begelman. He was ultimately fined and sentenced to community service, a public service anti-drug documentary, for the forgeries.[2]

Columbia Pictures suspended Begelman on a paid vacation and announced its own investigation. The studio discovered that Begelman had embezzled an additional $65,000 through other forged checks. However, the studio board of directors wanted to keep the matter out of the press. The Begelman scandal led to a rift between Columbia executives. Columbia Pictures CEO Alan Hirschfield was ousted from the studio in 1978 following his refusal to reinstate Begelman on moral grounds.[3] Following a brief reinstatement, Begelman was quietly fired. The studio released a statement saying he had suffered emotional problems.

Despite the pressure to remain quiet, Robertson and his wife Dina Merrill spoke to the press. David McClintick broke the story in The Wall Street Journal in 1978, later turning it into the best-selling 1982 book Indecent Exposure. Robertson later claimed he had been blacklisted during the 1980s for coming forward about the Begelman affair, and had few roles during this period.

A writer for New West magazine, working on this story, queried Begelman's claimed alma mater, Yale University, listed in his Who's Who entry. Yale responded that Begelman had never attended that university. The New West article said that "although Begelman was indicted for forgery and grand theft, the Hollywood types were more outraged that he had listed Yale in Who's Who. Apparently they figured that everybody steals money. It was the fact that he lied about Yale that drove them crazy."



Judy Garland management

In 1993, a book by Coyne Steven Sanders, "Rainbow's End: The Judy Garland Show" (Morrow 1990), about the history of Judy Garland's CBS Television series The Judy Garland Show (1963–64), devoted a chapter to possible embezzlement of Garland's funds by Begelman. Garland's estranged husband at the time, Sid Luft, hired an attorney to audit her income from the time Begelman began representing her with fellow agent Freddie Fields. It was discovered that several hundred thousand dollars were missing, much of it written in checks to "Cash" and endorsed by Begelman at various casinos in Las Vegas. Other entries in her accounts showed large sums paid for "protection" with no authorization, all approved by Begelman, though Garland had no personal security. In addition, a 1963 Cadillac convertible, given to Garland as partial payment for appearances on Jack Paar's television program, was titled to Begelman. Garland never knew the car was part of her compensation for her appearance.

In addition, Begelman told Garland a photo existed of her, partially nude, having her stomach pumped in a hospital emergency room after a drug overdose in London, and that blackmailers were demanding $50,000 to turn over the picture and all negatives. As she was in negotiations with CBS at the time for her new TV series, Garland paid rather than face the adverse publicity and potentially damaging the deal's prospects. Luft's attorney eventually determined that the check went to a holding company with a business address in New York City owned by Begelman, and was further traced to a personal account of Begelman.

Rather than confront Begelman at a time when he was playing such a pivotal role in her show business re-emergence, Garland decided to eat the financial losses based upon the promise of millions coming from the deal with CBS. Once her show was cancelled, however, she and Luft sued Begelman for the hundreds of thousands he had allegedly stolen as well as $1 million in punitive damages. Due to her dire financial situation at the time, Garland was forced to settle the suit for royalties owed her by Capitol Records that Begelman and Fields, as her agents, had collected but were holding because of the lawsuit.



Later career and suicide

In 1980, Begelman returned to the production world and became CEO and president of Metro-Goldwyn-Mayer, but with the exception of Poltergeist, he was unable to repeat his success at Columbia. His apparent slump led to his departure from MGM before his four-year contract expired. After leaving MGM, Begelman was offered a position to run a production company, Sherwood Productions, by backer Bruce McNall.[4] Under Sherwood, Begelman backed WarGames (which started production at MGM), Mr. Mom, The Adventures of Buckaroo Banzai Across the 8th Dimension, and Blame It on Rio. According to the makers of Buckaroo Banzai, Begelman continued to be engaged in fraud: reporting inflated figures to investors but producing the films for much less to pocket the difference.

When investor Nelson Bunker Hunt pulled out of Sherwood in 1984, Begelman took the slack and founded Gladden Entertainment (named after Gladys, his wife) with the remaining assets[5] and repartnering with McNall. There, he greenlit Mannequin, Weekend at Bernie's, The Fabulous Baker Boys, "Short Time" and "Mannequin II: On the Move." "Short Time" and "Mannequin II" did poorly. In 1988, McNall sold 40% of his half to foreign investors. At the 1993 Cannes Film Festival, Begelman revealed that the company had a distribution deal with MGM, Live Entertainment and Rank Film Distributors for 10-film and $150-million. However, Credit Lyonnais had placed a lien on Gladden's assets as the bank was owed $90 million. A petition was filed by Hollywood's three major talent guilds in U.S. Bankruptcy Court in Los Angeles to liquidate the company for failure to pay actors, directors and writers residuals to the tune of $4.1 million.[6] Begelman left Gladden Entertainment to found Gladden Productions.[7] However he was not able to get funding for the new production company.[2]



Begelman became depressed over his Gladden Entertainment bankruptcy and failure to find funding for Gladden Productions. David Begelman was found shot dead in a room at the Los Angeles Century Plaza Hotel on August 7, 1995 at the age of 73.[2] His death was ruled a suicide;[2] he was interred at Hillside Memorial Park Cemetery in Culver City.


Begelman had one daughter, Leslie Belskie (née Begelman). At his death he was married to his fourth wife and was survived by his daughter, a sister and a brother.[2]



Bibliography

David McClintick, Indecent Exposure: A True Story of Hollywood and Wall Street (New York: William Morrow and Company, 1982) 
"Blowing the Whistle on Fake Alumni," Time magazine (February 5, 1979) 
Coyne Steven Sanders, Rainbow's End: The Judy Garland Show (1993) 
McNall, Bruce; D'Antonio, Michael (July 9, 2003). Fun While It Lasted: My Rise and Fall In the Land of Fame and Fortune (1st ed.). New York City: Hyperion. ISBN 978-0-7868-6864-3.



References

1. Erens, Patricia The Jew in American Cinema ISBN 9780253204936 | ISBN 0253204933 | Publisher: Indiana University Press | Publish Date: August 1988 
2. Eller, Claudia; Dutka, Eliane (August 9, 1995). "Begelman, Ex-Columbia Chief, an Apparent Suicide". Los Angeles Times. 
3. Stedman, Alex (2015-01-16). "Alan Hirschfield, Former Columbia Chief Exec, Dies at 79". Variety. 
4. McNall and D'Antonio, pg. 88 
5. McNall and D'Antonio, pg. 94–98 
6. Bates, James; Dillman, Lisa (April 7, 1994). "Guilds Seek Back Residuals From Gladden". Los Angeles Times. 
 7. Bates, James; Dillman, Lisa (April 15, 1994). "Embattled McNall Sued in Back Rent Dispute". Los Angeles Times.

Saturday, August 6, 2016

Cellist Gregor Piatigorsky 1976 Westwood Village Cemetery


Gregor Piatigorsky (Russian: Григо́рий Па́влович Пятиго́рский, Grigoriy Pavlovich Pyatigorskiy; April 17 [O.S. April 4] 1903 – August 6, 1976) was a Russian-born American cellist.


Biography

Early life

Gregor Piatigorsky was born in Ekaterinoslav (now Dnipropetrovsk in Ukraine) into a Jewish family. As a child, he was taught violin and piano by his father. After seeing and hearing the cello, he determined to become a cellist and was given his first cello when he was seven.

He won a scholarship to the Moscow Conservatory, studying with Alfred von Glehn, Anatoliy Brandukov, and a certain Gubariov. At the same time he was earning money for his family by playing in local cafés.

He was 13 when the Russian Revolution took place. Shortly afterwards he started playing in the Lenin Quartet. At 15, he was hired as the principal cellist for the Bolshoi Theater.

The Soviet authorities, specifically Anatoly Lunacharsky, would not allow him to travel abroad to further his studies, so he smuggled himself and his cello into Poland on a cattle train with a group of artists. One of the women was a heavy-set soprano who, when the border guards started shooting at them, grabbed Piatigorsky and his cello. The cello did not survive intact, but it was the only casualty.

Now 18, he studied briefly in Berlin and Leipzig, with Hugo Becker and Julius Klengel, playing in a trio in a Russian café to earn money for food. Among the patrons of the café were Emanuel Feuermann and Wilhelm Furtwängler. Furtwängler heard him and hired him as the principal cellist of the Berlin Philharmonic.


United States

In 1929, he first visited the United States, playing with the Philadelphia Orchestra under Leopold Stokowski and the New York Philharmonic under Willem Mengelberg. In Ann Arbor, Michigan, in January 1937 he married Jacqueline de Rothschild, daughter of Édouard Alphonse James de Rothschild of the wealthy Rothschild banking family of France. That fall, after returning to France, they had their first child, Jephta. Following the Nazi occupation in World War II, the family fled the country back to the States and settled in Elizabethtown, New York, in the Adirondack Mountains. Their son, Joram, was born in Elizabethtown in 1940.

From 1941 to 1949, he was head of the cello department at the Curtis Institute of Music in Philadelphia, and he also taught at Tanglewood, Boston University, and the University of Southern California, where he remained until his death. The USC established the Piatigorsky Chair of Violoncello in 1974 to honor Piatigorsky.

Piatigorsky participated in a chamber group with Arthur Rubinstein (piano), William Primrose (viola) and Jascha Heifetz (violin). Referred to in some circles as the "Million Dollar Trio," Rubinstein, Heifetz, and Piatigorsky made several recordings for RCA Victor.[1][2]

He played chamber music privately with Heifetz, Vladimir Horowitz, Leonard Pennario, and Nathan Milstein.[1][3] Piatigorsky also performed at Carnegie Hall with Horowitz and Milstein in the 1930s.[4]

In 1965 his popular autobiography Cellist was published.


Gregor Piatigorsky died of lung cancer at his home in Los Angeles, California, in 1976. He was interred in the Westwood Village Memorial Park Cemetery in Los Angeles.



Appraisal

It has been reported that the great violin pedagogue Ivan Galamian once described Piatigorsky as the greatest string player of all time. He was an extraordinarily dramatic player. His orientation as a performer was to convey the maximum expression embodied in a piece. He brought a great authenticity to his understanding of this expression. He was able to communicate this authenticity because he had had extensive personal and professional contact with many of the great composers of the day.

Many of those composers wrote pieces for him, including Sergei Prokofiev (Cello Concerto[5]), Paul Hindemith (Cello Concerto), Mario Castelnuovo-Tedesco (Cello Concerto[6]), William Walton (Cello Concerto), Vernon Duke (Cello Concerto), and Igor Stravinsky (Piatigorsky and Stravinsky collaborated on the arrangement of Stravinsky's "Suite Italienne," which was extracted from Pulcinella, for cello and piano; Stravinsky demonstrated an extraordinary method of calculating fifty-fifty royalties[7]). At a rehearsal of Richard Strauss's Don Quixote, which Piatigorsky performed with the composer conducting, after the dramatic slow variation in D minor, Strauss announced to the orchestra, "Now I've heard my Don Quixote as I imagined him."

Piatigorsky had a magnificent sound characterized by a distinctive fast and intense vibrato and he was able to execute with consummate articulation all manner of extremely difficult bowings, including a downbow staccato that other string players could not help but be in awe of. He often attributed his penchant for drama to his student days when he accepted an engagement playing during the intermissions in recitals by the great Russian basso, Feodor Chaliapin. Chaliapin, when portraying his dramatic roles, such as the title role in Boris Godunov, would not only sing, but declaim, almost shouting. On encountering him one day, the young Piatigorsky told him, "You talk too much and don't sing enough." Chaliapin responded, "You sing too much and don't talk enough." Piatigorsky thought about this and from that point on, tried to incorporate the kind of drama and expression he heard in Chaliapin's singing into his own artistic expression.

He owned two Stradivarius cellos, the "Batta" and the "Baudiot." According to Cozio.com, Piatigorsky also owned the famous Montagnana cello known as the Sleeping Beauty from 1939 to 1951.


Works

Piatigorsky was also a composer. His Variations on a Paganini Theme (based on Caprice No. 24) was composed in 1946 for cello and orchestra and was orchestrated by his longtime accompanist Ralph Berkowitz; it was later transcribed for cello and piano.[8] Each of the fifteen variations whimsically portrays one of Piatigorsky’s musician colleagues. Denis Brott, a student of Piatigorsky, identified them as: Casals, Hindemith, Garbousova, Morini, Salmond, Szigeti, Menuhin, Milstein, Kreisler, a self-portrait of Piatigorsky himself, Cassadó, Elman, Bolognini, Heifetz, and Horowitz.[9]

Partial discography

Heifetz, Primrose and Piatigorsky (RCA Victor LP LSC-2563) RCA Victor Red Seal 1961 
Heifetz and Piatigorsky (Stereo LP LSC-3009) RCA Victor Red Seal 1968 


Chess 

Piatigorsky also enjoyed playing chess. His wife, Jacqueline Piatigorsky, was a strong player who played in several US women's championships and represented the United States in the women's Chess Olympiad. In 1963, the Piatigorskys organized and financed a strong international tournament in Los Angeles, won by Paul Keres and Tigran Petrosian. A second Piatigorsky Cup was held in Santa Monica in 1966, and was won by Boris Spassky.


References

1. cello.org biography 
2. Arthur Rubinstein. My Many Years. Knopf 
3. Thiollet, Jean-Pierre (2012), Piano ma non solo, Anagramme Ed., p. 147. ISBN 978-2-35035-333-3 
4. Plaskin, Glenn (1983). Biography of Vladimir Horowitz Quill ISBN 0-688-02656-7 
5. Solow, Jeffrey (31 March 2010), "Prokofiev: Cello Concerto in E minor, Op.58", MusicaNova's Blog, MusicaNova Orchestra of Scottsdale
6. King, Terry (2010), Gregor Piatigorsky: The Life and Career of the Virtuoso Cellist, Jefferson, North Carolina: McFarland and Co, ISBN 0786456264
7. Prieto 2006, p.251 
8. Lambooij, Henk; Feves, Michael (2007) [1999]. A cellist’s companion: a comprehensive catalogue of cello literature. Netherlands: Stichting The Cellist’s Companion. p. 430. ISBN 9781847990051. 
9. Lamoreaux, Andrea (2009). Wendy Warner Plays Popper and Piatigorsky (Liner notes). Wendy Warner, cello, and Eileen Buck, piano. Cedille Records. CDR 90000 111.

Prieto, Carlos; Murray, Elena C.; Mutis, Alvaro (2006). The Adventures of a Cello. University of Texas Press. pp. 249–251. ISBN 0-292-71322-3.

Further reading

His autobiography: Cellist (1965). Doubleday. Limited edition reprint: Da Capo Press (1976). ISBN 0-306-70822-1 
Bartley, M. (2006). Grisha: The Story of Cellist Gregor Piatigorsky. Otis Mountain Press. ISBN 0-9760023-0-2. 
"Gregor Piatigorsky". The Musical Times. 117 (1604): 849–849. October 1976. 
King, Terry (2010). Gregor Piatigorsky: The Life and Career of the Virtuoso Cellist. McFarland. ISBN 978-0-7864-4635-3. 
"With the Artists". World Famed String Players Discuss Their Art, Samuel and Sada Applebaum, John Markert and Co., New York (1955). Pages 192-202 are devoted to Gregor Piatigorsky. 
Jump in the Waves, a Memoir, Jacqueline Piatigorsky, St. Martin's Press, New York (1988). ISBN 0-312-01834-7.


Thursday, July 28, 2016

Opera Singer Helen Traubel 1972 Westwood Village Cemetery


Helen Francesca Traubel (June 16, 1899 – July 28, 1972) was an American opera and concert singer. A dramatic soprano, she was best known for her Wagnerian roles, especially those of Brünnhilde and Isolde.[1]

Born and raised in St. Louis, Missouri, she began her career as a concert singer and went on to sing at the Metropolitan Opera from 1937-53. Starting in the 1950s, she also developed a career as a nightclub and cabaret singer as well as appearing in television, films and musical theatre. Traubel spent her later years in Santa Monica, California, where she died at the age of 73.



Early life

Traubel was born in St. Louis, Missouri to a prosperous family of German descent. She was the daughter of Otto Ferdinand Traubel, a pharmacist, and Clara Traubel (née Stuhr). She studied singing in her native city with Louise Vetta-Karst and later in New York City with Giuseppe Boghetti among other teachers. She made her debut as a concert singer with the Saint Louis Symphony Orchestra in 1923, and in 1926 she got a first offer to join the Metropolitan Opera company after performing the aria Liebestod at the Lewisohn Stadium under conductor Rudolph Ganz. She turned down the offer in order to continue with her studies and career as a concert singer.[2]


Opera career

Traubel made her first appearance on the opera stage on May 12, 1937, when the composer Walter Damrosch asked her to portray the role of Mary Rutledge in the world premiere of his opera The Man Without a Country at the Met.[2][3] Later that year she made her debut with the Chicago City Opera Company with whom she was active until the company went bankrupt in 1939. In 1940 she joined the roster of the Chicago Opera Company, remaining active with that company until it too went bankrupt in 1946. She sang in several performances with the San Francisco Opera in 1945 and 1947; making her debut with the company as Brünnhilde in Die Walküre on October 9, 1945 with Lauritz Melchior as Siegmund, Margaret Harshaw as Fricka, and William Steinberg conducting.[4]

Since the Met already had two first-class Wagnerian sopranos, Kirsten Flagstad and Marjorie Lawrence, Traubel at first had difficulty finding her niche. Her debut as a regular company member was as Sieglinde in Die Walküre in 1939, the only standard role which she had previously sung, at the Chicago Opera. Flagstad left the US in 1941 to visit her homeland of Norway and could not return for political reasons. The same year, Lawrence was stricken with polio and her career was curtailed.

On February 22, 1941, Traubel sang with tenor Lauritz Melchior in excerpts from Wagnerian operas on the live broadcast concert of the NBC Symphony Orchestra conducted by Arturo Toscanini. RCA Victor later released recordings of excerpts from the concert, as well as a famous studio recording of Brünnhilde's Immolation Scene from Die Götterdämmerung. Traubel later triumphed in Tannhäuser and in Tristan und Isolde. She was renowned for her strong voice, which was often described as a "gleaming sword;" her endurance and purity of tone were unsurpassed, especially as Brünnhilde and Isolde. Although she longed to sing Italian opera, she never did in a complete performance, although she often included Italian arias in her recital repertoire. Towards the end of her Met career, she did add the Marschallin in Richard Strauss's Der Rosenkavalier briefly to her repertoire.[3]

In 1948, while her Met career was at its height, US President Harry S. Truman contracted her to act as an "advisor" to his daughter, Margaret, who was hoping to launch a career as a classical singer. Traubel's 1959 autobiography, St. Louis Woman, contains an account of the three years she spent in the role, and how in the end she felt it had adversely affected her stature in the music world to have her name associated with "such a musical aspirant."[5]



Traubel's contract at the Metropolitan Opera was not renewed in 1953 when its General Manager, Rudolf Bing, expressed disapproval of her radio and TV appearances alongside the likes of Jimmy Durante and her expressed desire to expand her lucrative career in major supper and night clubs. Traubel went on to appear at the Copacabana, as well as in many cameo television roles.[6] After her Met career, she appeared on Broadway in the Rodgers and Hammerstein failure, Pipe Dream, playing a bordello madame with a heart of gold and the voice of Isolde.[7] Additionally, she appeared in the films Deep in My Heart, Gunn and The Ladies Man. She also appeared opposite Groucho Marx as Katisha in a Bell Telephone presentation (abridged) of Gilbert and Sullivan's The Mikado. Traubel's last night club appearance was with Jimmy Durante at Harrah's Lake Tahoe in 1964.[8]



Other

A baseball fan, Traubel was once the part owner of her hometown team, the St. Louis Browns.[8] She wrote two murder mysteries, The Ptomaine Canary (serialized in US newspapers via Associated Press) in 1950 and The Metropolitan Opera Murders (1951), which feature a soprano heroine, Elsa Vaughan, who helps solve the mystery, as well as being a thinly-disguised portrait of Traubel herself.[9]

Her later years were devoted to caring for her second husband and former business manager, William L. Bass, whom she had married in 1938. (Her first husband, was Louis Franklin Carpenter, a St. Louis car salesman. The couple married in 1922 but soon separated.[2]) 



Helen Traubel died of a heart attack in Santa Monica, California, aged 73, and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles.[10]




For her contribution to the recording industry, Helen Traubel has a star on the Hollywood Walk of Fame at 6422 Hollywood Blvd.[11] In 1994 she was inducted into the St. Louis Walk of Fame.[12]

Notes and references

1. Hischak (2007) p. 297; Sicherman and Green (1980) p. 697. Note that McHenry (1983) p. 416 and some press obituaries give the year of her birth as 1903. 
2. Sicherman and Green (1980) p. 697 
3. Metropolitan Opera Archives 
4. San Francisco Opera Performance Archives 
5. Youngstown Vindicator (December 23, 1958), p. 11 
6. See Gettysburg Times (September 29, 1953), p. 6 and Montreal Gazette (July 31, 1972), p. 14. 
7. Hischak (2007) p. 297. 
8. Star-News (July 31, 1972), p. 18 
9. Time Magazine (April 24, 1950) 
10. Montreal Gazette (31 July 1972) p. 14 
11. Hollywood Chamber of Commerce, Hollywood Walk of Fame:Helen Traubel 
12. St. Louis Walk of Fame, Helen Traubel

Sources

Gettysburg Times (via Associated Press), "Helen Traubel In Tiff With Met: Won't Sign", September 29, 1953, pg. 6 
Hischak, Thomas S. "Traubel, Helen", The Rodgers and Hammerstein Encyclopedia, Greenwood Publishing Group, 2007, p. 297; ISBN 0-313-34140-0 
McHenry, Robert (ed.), "Traubel, Helen", Famous American Women: A Biographical Dictionary from Colonial Times to the Present, Courier Dover Publications, 1983, p. 416; ISBN 0-486-24523-3 
Metropolitan Opera Archives, Traubel, Helen (soprano), MetOpera Database 
Montreal Gazette (via Associated Press), "Former Met Star Helen Traubel Dead", July 31, 1972, p. 14 
San Francisco Opera Performance Archives, Helen Traubel 
Sicherman, Barbara, and Green, Carol Hurd (eds), "Traubel, Helen Francesca", Notable American Women: The modern period, Volume 4, p. 697, Harvard University Press, 1980; ISBN 0-674-62733-4 
Star-News (via United Press International), "Helen Traubel, Former Opera Diva, Dies", July 31, 1972, p. 18 
Time Magazine, "Happy Heroine" (cover story), November 11, 1946 
Time Magazine, "Murder at the Met?", time.com, April 24, 1950 
Traubel, Helen and Hubler, Richard Gibson, St. Louis Woman, University of Missouri Press, 1999; ISBN 0-8262-1237-9 
Youngstown Vindicator (via Associated Press), "Helen Traubel Says Role with Margaret 'Hurt' Her", December 23, 1958, p. 11

Wednesday, July 27, 2016

Singer Tony Martin 2012 Hillside Cemetery


Tony Martin (born Alvin Morris; December 25, 1913 – July 27, 2012), was an American actor and singer who was married to performer Cyd Charisse for 60 years.



Martin died on the evening of July 27, 2012, of natural causes. He was 98 years old. Martin was buried at the Hillside Memorial Park Cemetery in Culver City, California.





Make-Up Artist William Tuttle 2007 Woodlawn Cemetery


William J. Tuttle (April 13, 1912 – July 27, 2007) was an American make-up artist. Born in Jacksonville, Florida, at a young age he was forced to leave school to support his mother and younger brother. After a series of odd-jobs and a brief stint in his own band, Tuttle moved to Los Angeles in 1930 and began taking art classes at the University of Southern California where he would meet his future collaborator Charles Schram.[1] Around the same time, he began working as a page at Fox Studios.[2] He went on to work under makeup artist Jack Dawn at Twentieth Century Pictures.

In 1934, Tuttle and Dawn moved to Metro-Goldwyn-Mayer. Working as Dawn's assistant, Tuttle supervised the makeup work in such movies as The Wizard of Oz and Father of the Bride.



Tuttle created makeup for many of Hollywood’s biggest stars, among them Judy Garland (“Summer Stock,” 1950); Gene Kelly (“Singin’ in the Rain,” 1952); Katharine Hepburn (“Pat and Mike,” 1952) and Esther Williams (“Million Dollar Mermaid,” 1952). Eventually he worked his way up to head of the studio's makeup department,



In the 1950s he would be responsible for the makeup in Singin' in the Rain, Forbidden Planet, North by Northwest and The Time Machine. He reused pieces he first created for The Time Machine in The Eye of the Beholder, one of his many Twilight Zone contributions.



In 1965, Tuttle received a special Academy Award for his work on George Pal's 7 Faces of Dr. Lao;[3] this was 17 years before makeup became an official Oscar category. Later work included Logan's Run and Young Frankenstein. Tuttle is the subject of the 1968 MGM short The King of the Duplicators where he demonstrated some of his work. He also appeared as himself in the documentary film The Fantasy Film Worlds of George Pal (1985), produced and directed by Arnold Leibovit.

Later in life, Tuttle managed his company known as Custom Color Cosmetics.[4]

William Tuttle died, aged 95, from natural causes at his home in Pacific Palisades, California, survived by his wife, Anita and his daughter, Teresa.[5]


His remains are in the mausoleum at Woodlawn Cemetery in Santa Monica, California.


Marriages

William Tuttle was married five times. He was the first husband of Oscar-winning film and television star Donna Reed. He was survived by his daughter, Teresa, and predeceased by his son, John (both children were from his marriage to the late Marie Kopicki).

Anita B Aros (March 25, 1967 - July 27, 2007) (his death) 
Elizabeth L. Muskie (October 13, 1962 - 19??) (divorced) 
Marie Kopicki (19?? - June 4, 1961) (her death); 2 children 
Gloria Gilbert (19?? - 19??) (divorced) 
Donna Reed (1943 - 1945) (divorced)



References

1. Nelson, Valerie (3 August 2007). "William J. Tuttle, 95; pioneering film makeup artist was first to get an Oscar". Los Angeles Times. 
2. Van Gelder, Lindsy (March 1998). "Screen Savior". Allure. 
3. "William Tuttle Gets Acad Award For 'Lao' Makeup". Hollywood Reporter. 29 March 1965. 
4. Van Gelder, Lindsy (March 1998). "Screen Savior". Allure. 
5. Fox, Margalit (August 4, 2007). "William J. Tuttle, Master Movie Makeup Man, Dies at 95". The New York Times.




Tuesday, May 31, 2016

"Thunder Pass" Actress Dorothy Patrick 1987 Westwood Village Cemetery


Dorothy Patrick (June 3, 1921 – May 31, 1987) was a Canadian-American film actress and a John Robert Powers model.



Early life

Dorothy Patrick was born Dorothea Davis on June 3, 1921, in St. Boniface, Manitoba, Canada of Scot-English heritage from a family of farmers, ranchers and Canadian National Railway workers. Thanks to a talented uncle who was a uniform manufacturer and tailor to W.W.I Canadian Army officers, she early on became sensitive to fashion and taste. Having poise and beauty older than her years, as a teen Dorothy was a professional photographic model for young ladies' fashions in Creed's, Hudson's Bay and Sears department store catalogs, popular in Canada.

After growing up in Winnipeg, in 1938 at age 17, she and her "backstage" mother, Eva, emigrated to the United States. Settling in New York City at tony Tudor City in Manhattan, Patrick became a fashion model with the famous John Robert Powers Agency. She was seen on the runways of the City's haute couture salons and as the wholesome face on popular fashion and entertainment magazines of the day.



Career

During her early career she was billed under her birth name, Dorothea Davis, until she married a New York Rangers hockey star, Lynn Patrick, and became Dorothy Patrick. Though she had one son in the marriage, the aspiring actress remained career-bound, not ready to co-star as a housefrau.

While appearing at dinner-club showcases in Jersey City, New Jersey, Patrick won Samuel Goldwyn's talent-search contest, MGM's coveted "Gateway to Hollywood." With a movie contract in hand, she moved to Hollywood with her mother and young son to live in Culver City, California and work at nearby MGM studios. The "Star System" cultivated in the era saw Dorothy training at the studio's repertory workshop along with stars like Judy Garland as one of the students. Dorothy first appeared as a Goldwyn Girl in Up in Arms starring Danny Kaye (1944). Her most noted MGM appearance was opposite Robert Walker in the Jerome Kern musical showcase and Technicolor dazzler, Till the Clouds Roll By (1946).

As a "Queen of the Bs," she continued to appear in films produced in the 1940s and 1950s, including High Wall (1947) with Robert Taylor; New Orleans (1947) with Louis Armstrong and Billie Holiday; The Mighty McGurk (1947) with Wallace Beery; Follow Me Quietly (1949) with William Lundigan, and the Fritz Lang-directed noir classic, House by the River (1950). Apart from her film career, during the 1940s, she played several roles on Lux Radio Theatre.



In the early days of television, she made guest appearances on the locally produced TV game show, Mike Stokey's Pantomime Quiz. The Korean War-era saw her at celebrity appearances for USO and she was Miss Naval Air Force Recruiting 1951. At Columbia Pictures, Patrick co-starred with Preston Foster and Wayne Morris in an oil wild-catting yarn, The Big Gusher (1951), and in a modern-day western, Outlaw Stallion (1954), opposite Billy Gray with Phil Carey.

Dorothy co-starred or was supporting actress in a series of Republic programmers. The studio was best known releasing Saturday matinee serials, westerns, mysteries and crime dramas. Republic films she made include 711 Ocean Drive (1950) with Edmond O'Brien, Joanne Dru and Otto Kruger (caps with a slam-bang gun-chase scene at Hoover [Boulder] Dam); the "true life" crime drama Lonely Heart Bandits (1950) with John Eldredge; the genre western Thunder Pass (1954) with Dane Clark, John Carradine and Andy Devine, and a "Gringos go south-of-the-border" comedy, Belle of Old Mexico (1950).



In the world of Hollywood actress-survivors, Dorothy was a "trouper" in her career. Besides film and television, for several summer seasons Dorothy was also seen on stage at the La Jolla Playhouse. One summer she co-starred opposite Howard Duff in Anniversary Waltz; another season playing "Mrs. Miniver." There were also decorative walk-ons in noted film productions like The Bad and the Beautiful (1952) and Singin' in the Rain (1952). Her last movies were in 1955 as Dorothy Davis Patrick at 20th Century Fox: Violent Saturday (1955) as the wife of Victor Mature and The View from Pompey's Head (1955) with Richard Egan and Dana Wynter. That same year, Dorothy took a hiatus from Hollywood to raise her two adolescent sons back East in Short Hills, a New Jersey suburb of New York City. There she was also able to keep abreast of the Broadway scene as well as the local "off-Broadway" venue, the Papermill Playhouse in Short Hills.

Returning to Hollywood in 1961 and up for a few parts on television, she found her creative niche appearing with the Leontovich Theatre in West Hollywood for several seasons while a real estate agent in Beverly Hills. A working, lifelong SAG (Screen Actors Guild) actress, Dorothy appeared in more than 35 motion picture films and television productions.



Personal life

Her first husband was Lynn Patrick (February 3, 1912 – January 26, 1980) who became one of the most prominent and successful figures in American Ice hockey. Her son from this marriage was Lester Lee Patrick (1940–1996). Lester had a half-sister and three half-brothers. One of the brothers, Craig Patrick was noted assistant coach 1980 U.S Olympic Hockey team and former General Manager of the New York Rangers and Pittsburgh Penguins respectively.

A few years into her film career, Dorothy married her second husband, noted Beverly Hills dentist-to-the-stars, Sterling Trevling "Doc" Bowen. Dr. Bowen's first son from his first marriage was the noted avant-garde artist Michael Bowen (d. 2009). Dorothy's marriage to Dr. Bowen had one son, Sterling Terrence "Terry" Bowen (b. 1944) a resident of Sacramento, California.



Death

Dorothy Patrick died in 1987 of a heart attack, three days before her 66th birthday. She is interred at Westwood Village Cemetery in Los Angeles, California. She is survived by one son, four grandchildren, and three great-grandchildren.




Selected filmography

Belle of Old Mexico (1950) 
Torch Song (1953) 
Tangier Incident (1953)



References

1. Profile, glamourgirlsofthesilverscreen.com