Samuel S. Brylawski
(b Chicago, Oct 6, 1893; d Los Angeles, May 6, 1979). American composer. He began his career as a song plugger and arranger for the publishing companies of George M. Cohan and Irving Berlin, and had his first success as a songwriter (in collaboration with the composer George W. Meyer) with Everything's peaches down in Georgia (G. Clarke, 1918), introduced by Al Jolson. He wrote many songs to lyrics by Jack Yellen (with whom he founded the publishing firm Ager, Yellen & Bornstein in 1922), including I wonder what's become of Sally (1924), Ain't she sweet? (1927) and Happy days are here again (1930); the last became closely associated with the presidential campaigns of Franklin D. Roosevelt. Other well-known songs by Ager are I'm nobody's baby (lyrics by B. Davis; 1921), Auf Wiedersehen, my dear (A. Hoffman, E.G. Nelson, A. Goodhart; ...
William A. Everett and Lee Snook
(b Bronx, NY, Oct 7, 1917; d Ojai, CA, July 8, 2006). American singer and actress. Trained as a dancer and with a career which began on Broadway, she became known as the perennial ‘girl next door’ in MGM motion pictures. Her early career in film was as a dancer in shorts such as Dime a Dance (1937), but she gained attention with her first major Broadway role in Best Foot Forward (1941) and reprised her role in the 1943 film version. Other musical films in which she appeared include Thousands Cheer (1943), Girl Crazy (1943), Two Girls and a Sailor (1944), Music for Millions (1944), Two Sisters from Boston (1946) and Good News (1947). In 1948, she began to appear in non-musical films, including dramas and comedies. She received a Golden Globe Award in ...
Michael J. Budds
American vocal trio. It was formed in 1932 by the sisters LaVerne (b Minneapolis, 6 July 1915; d Brentwood, CA, 8 May 1967), Maxene (Maxine) (b Minneapolis, 3 Jan 1918; d Hyannis, MA, 21 Oct 1995) and Patti (Patricia) (b Minneapolis, 16 Feb 1920; d Los Angeles, CA, 30 Jan 2013) Andrews. They began performing in vaudeville houses in the Midwest with the Larry Rich Orchestra in 1932, and first achieved national prominence with a version of Bei mir bist du schön in 1937. They made frequent radio appearances in the late 1930s and 40s, including regular performances with the Glenn Miller Orchestra; they acted in 16 films (1940–48), often cast as themselves; they made nationwide tours; and they produced a steady stream of popular song recordings, some with Bing Crosby and Guy Lombardo. Among the most popular of their recordings were ...
[Wells, Julia Elizabeth]
(b Walton-on-Thames, Oct 1, 1935). English singer and actress. Her prodigious talents as singer and dancer were recognized early on by her mother (Barbara Morris Wells, a pianist), and stepfather (Ted Andrews, a Canadian vaudeville performer). After vocal lessons with Lilian Stiles-Allen and sporadic appearances in her parents' act, she made her solo début at the age of 12 in the Starlight Roof revue (1947), singing ‘Je suis Titania’ from Ambroise Thomas' Mignon. She repeated this feat at the Royal Command Performance of 1948.
Following engagements on BBC radio (‘Educating Archie’, 1950–52) and in Christmas pantomimes, she was asked to play the female lead in the Broadway production of Sandy Wilson's West End musical The Boy Friend (1954). This led to her portrayal on Broadway of Eliza Doolittle in My Fair Lady (1956), a role she repeated in London in 1958...
Philip L. Scowcroft
(b March 26, 1874; d Marlow, Bucks., Dec 14, 1948). English composer and conductor. He studied composition at the GSM with MacCunn and then pursued a career in London's West End, latterly as a musical director, especially at the Playhouse, Winter Garden, Alhambra, Shaftesbury and Adelphi theatres. He subsequently worked for the BBC from 1926 to 1930. Drawing on his theatrical background he composed incidental music and also operettas, of which The King's Bride, Violette and especially the well-characterized Medorah achieved modest success.
He was also adept at writing colourful, attractively scored and melodious suites and single movements. Some of these showed a fondness for Ireland, the country which also inspired his Overture to an Irish Comedy. Others sought to explore fresh ideas in the light concert suite, a common genre in the first half of the 20th century, as in his Mediterranean Suite (three dance movements representing Spain, Italy and France) and ...
(b New York, May 20, 1889; d Harmon, NY, Oct 10, 1918). American composer and pianist. After studying the piano at the National Conservatory of Music in America and taking private lessons with Alexander Lambert, he pursued a varied career in New York, writing material for vaudeville entertainers, serving as a staff pianist for various publishers and recording extensively both on piano rolls (Duo-Art, QRS) and discs (Victor). Arndt’s compositions combine salon gentility with occasional ragtime syncopation, foreshadowing the novelty-piano works of the 1920s by such composers as Confrey and Bargy. They include ...
Thomas L. Gayda
(b Vienna, Aug 17, 1880; d New York, Feb 25, 1942). Austrian composer. He studied law and music at Vienna University, the piano with Hugo Reinhold and L. Thern (1898–1904) and composition with Robert Fuchs and Franz Schmidt. By 1905 he had decided to devote his time to composition, and by 1932 had composed 32 operettas. His first, Vergeltsgott (1905), was produced at the Theater an der Wien and had 69 performances, while one of his greatest successes was Hoheit tanzt Walzer (1912), first produced at the Raimundtheater and performed more than 2500 times over the next ten years. Characteristically Ascher’s music was in a strong local Viennese idiom, and he created a perfect example of the so-called Wienerlied with S’Lercherl von Hernals (1911). He also wrote lieder and film music. Ascher was arrested during the Reichskristallnacht, and upon his release emigrated to the USA (...