Thursday, January 31, 2013

Fred Whitfield obit

FRED WHITFIELD OBITUARY

 

 He was not on the list.


FRED DWIGHT of Vandiver, Alabama went to be with the Lord on January 31, 2013 at the age of 75. He is survived by his wife, Helen Leverton Whitfield, one daughter, Tammy Acre (Mike), five sons, Fred Whitfield Jr. (Lynn), Teddy Whitfield (Debbie), Jeff Whitfield (Jan), Max Whitfield (Tracy), Derek Whitfield (Tammy) and granddaughter by birth, daughter by choice, Cherie Bailey as well as a host of loving grandchildren and great grandchildren and one sister Joy Wear. Fred enjoyed a 13 year professional baseball career and retired from Anderson Electric. He was an avid outdoorsman and enjoyed playing blue grass and gospel music on his guitar. Fred had a true servants heart, he loved life and fought hard to finish his last inning strong. "I have fought a good fight, I have finished the race and I have kept the faith." Funeral Services will be Sunday, February 3, 2013 at 2 PM at Vandiver Church of God with Reverend David Houston officiating. Burial will be at Lawleys Chapel Cemetery. The family will receive friends at the Church on Saturday, February 2, 2013 at 5 PM at the Church.

“You know, I don’t have a lot of tools like other guys,” said Fred “Wingy” Whitfield in 1965. “I can’t throw, I can’t run, and until lately I couldn’t catch too good either. I guess I’m lucky to be here. But I could always hit pretty good and that’s how I stayed around.”  The left-handed slugger from Alabama hit 108 home runs in the majors from 1962 through 1970. He hit 26 for the Cleveland Indians in 1965 – cementing his reputation as a “Yankee-killer” with 10 in just 71 at-bats against New York – and 27 more in 1966.

Whitfield’s arm was the source of his none-too-flattering nickname. Joe Schultz, later one of the first baseman’s managers, hung it on him during minor-league camp in 1958. Originally Whitfield was an outfield/pitching prospect – but after an early shoulder injury, he threw with a hitch and couldn’t get much on the ball. “They put me on first base because I can’t cause as much trouble there,” he said in 1965. Wingy didn’t let his nickname bother him much, though. He was a humble, friendly, religious man with a quiet Southern drawl who often had a pleasant smile on his face.

“You really had to listen close, if and when he spoke,” said Harry Fanok, a flamethrowing pitcher who befriended Whitfield as they came up in the St. Louis Cardinals chain. “He was one cool dude! He had that sheepish half-smile that Elvis had, along with the politeness – a true Southern gentleman.”

Fred Dwight Whitfield was born on January 7, 1938, in Vandiver, Alabama. Whitfield is a very common name in this village, which is about 25 miles east-southeast of Birmingham, the biggest city in the state. Fred’s father was W. Theodore Whitfield, a farmer. His mother was Inez (née Brasher) Whitfield. He had two older sisters, named Joy and Doris (“Dot”). A younger brother named Jerry died when he was just eight days old.

In 1966 Whitfield told Russell Schneider (longtime beat writer covering the Indians), “I used to sneak into the park at Birmingham when I was a kid, but I always liked to play instead of watch.” Fred attended Woodlawn High School in Birmingham.v When he was still a junior, in 1956, he got his first shot at the pros – but it took him three tries to stick in Organized Baseball. The Pittsburgh Pirates signed him first.

They gave me $500 and a Class D contract, but sent me home after two weeks of spring training at Waycross [actually, it was Brunswick], Georgia. They said I didn’t have the tools to become a major league prospect.”

Whitfield went back home and played sandlot ball. His team got into the playoffs, and he went in to pitch the last three innings of their final game. “I didn’t realize it then,” he told Schneider, “but I musta hurt my arm because I couldn’t throw at all the next spring. If I’d known, I would have told the Orioles, because they signed me at the end of the 1956 season as a pitcher-outfielder. I never threw any during the winter because it was always too cold, so I had no idea I’d hurt my arm.”

On February 9, 1957, the 19-year-old Fred married a girl from Gadsden, Alabama, Helon Florence Leverton. (Many accounts show the more conventional spelling of her given name, Helen.) They had a daughter named Tammy, followed by five sons: Fred Jr., Teddy, Jeff, Max, and Derek.

The newlywed went to Baltimore’s minor-league camp – but again he was sent home after about two weeks, this time because of his arm problems. He visited a chiropractor, with uncertain results, “but I learned to kinda flip the ball the way I do now, using mostly my wrist. I was good enough to get by at first base as long as I didn’t have any long throws to make.” He got back into action with his same sandlot team.

In 1958 Cardinals scout Mercer Harris gave Whitfield another chance on the strength of his bat. The first baseman reported to minor-league camp. Joe Schultz, who later became best known for managing the 1969 Seattle Pilots, had just joined the St. Louis organization (in 1958 he managed the Class A farm club at York, Pennsylvania). He saw the way Whitfield threw and gave him the enduring tag Wingy. As Fred described it in 1965, “I still have to throw from down here. If I try to stretch out over the top, I get a bite in my shoulder.” Ohio sportswriter Terry Pluto came up with some funny images at Wingy’s expense in later years.

The Cards assigned Whitfield first to Keokuk in the Class D Midwest League. Though he committed a league-leading 31 errors in 123 games, he also led the circuit with an impressive 118 RBIs. He hit .309 with 29 doubles (again tops in the Midwest League) and 23 homers. Though this performance at the lowest level of the minors got no ink in The Sporting News, it impressed the organization. Whitfield jumped all the way to Double-A Tulsa to begin the 1959 season. He did not hit badly (.255-3-15 in 31 games), but was optioned to Winston-Salem (Class B) in May to continue his development. There Wingy resumed punishing the ball (.293-25-103 in 107 games).

Meanwhile, in March 1959, St. Louis had obtained Bill White from the San Francisco Giants. White promptly emerged as one of the best first basemen in the National League – he won multiple All-Star and Gold Glove honors during the ’60s. Also in 1959, the Cards’ Triple-A club, Rochester, acquired forty-something folk hero Luke Easter, so the prospects were at Double-A and below.

The Cardinals invited Whitfield to the Instructional League that fall along with an array of other prospects. Though an eye injury delayed his start, he made the league’s all-star team. Harry Fanok had an anecdote from those days. “We were facing some hard thrower and Wingy lofted one of his shots over the right-field fence at Al Lang Field. If I’m not mistaken, the ball hit the hotel on the other side of the street. One hell of a blast from that lightning short quick stroke he had. Anyway, the next time Wingy comes up to bat, the guy drills him! We all expected him to go down, but, he just walked to first base. When he did finally come to the dugout, we asked him if he was okay. Wingy replied, “Don’t throw hard enough to hurt me!”

Whitfield returned to Tulsa in 1960 and got off to a hot start, going 18-for-49 with five homers as he posted an 11-game hitting streak to start the year. His batting didn’t let up much the rest of the way (.310-22-89 in 138 games) and he also cut his errors to 16. At the end of the season the Oilers beat the Mexico City Tigers, champions of the Mexican League, in the second Pan-American Series.

In 1961 Whitfield started the season in Triple-A for the first time. The top St. Louis affiliate was then located in San Juan, Puerto Rico, but the team was uprooted to Charleston, West Virginia, in May. With Joe Schultz as his manager, Whitfield again had a good year. The International League’s managers voted him to the midseason all-star team, though by season’s end, his output was down from prior levels (.301-18-73 in 134 games).

The job competition remained thick, though. As Cardinals beat writer Neal Russo put it that October, “[St. Louis general manager] Bing Devine, who has often taken a ribbing for his tendency to collect first basemen, is set for some cracks about his latest monopoly of first sackers. ‘I’ve had to replenish our stock,’ the G.M. kidded.” Devine had just obtained former Yankees bonus boy Frank Leja to go with White, Joe Cunningham, Whitfield, and Jeoff Long (a power-hitting bonus boy from Kentucky). Stan Musial and Gene Oliver could also play the position. Further down, the Cardinals had signed yet another future big-league first baseman, George Kernek.

Whitfield got a long look from the big club during spring training in 1962, but to begin the year, he was sent to the Cardinals’ new Triple-A farm team, the Atlanta Crackers. Harry Fanok was also with the Crackers in 1962. He remembered when Whitfield and his family arrived (they already had four kids).

“I roomed with Dick Hughes, another pitcher,” said Fanok in 2007. “We both played guitar, so we got along fine. We rented this large house with many rooms. Sometime later, Wingy got sent down to Atlanta and had no place to stay. His wife was with him also. So Dick and I offered to house them up. Freddy had this old beat-up car. I don’t even remember what kind it was, but, it was filled with their life support stuff. They were happy to hole up with us. The very next day, Wingy’s wife was in there on her hands and knees, scrubbing the floors and whatever else needed attention, as Hughes and I were not into cleaning all that much. Now, we had three guitar players. One from Arkansas, one from Alabama, and me, from New Jersey. We had a good time.”

Whitfield’s love of music, hunting, and fishing was lifelong. As his obituary noted, “He was an avid outdoorsman and enjoyed playing bluegrass and gospel music on his guitar.” Fred originally took the instrument up in his late teens because a lot of his friends did it; he had a notion that it helped his hitting too because it made his wrists stronger and more flexible. “Hell, it’s been 50 years since he taught Dick Hughes one of his guitar licks,” said Harry Fanok in 2013. “They used to go fishing after spring training days were done. They’d fish the canals down there in Homestead many times.”

Again playing for Joe Schultz in 1962, Whitfield hit strongly in Atlanta (.323-8-28 in 33 games). During one burst from May 17-21, he was 11-for-25 with four homers and nine RBIs. Thus, in late May, the Cardinals called him to the majors for the first time at age 24. They actually wanted another righty bat on their bench but lacked a ready option in the farm system, so they went with Wingy instead. When Whitfield got the news, he and his family drove from the ballpark after a night game in Atlanta – two hours and change to their home in Vandiver. They arrived at 3 A.M. and Fred simply stayed up ahead of his 6:50 A.M. flight to St. Louis.

Manager Johnny Keane did not use Whitfield the first night he was available, but the new rookie made his debut the following afternoon, May 27. Pinch-hitting for Bob Gibson, he drew a walk off Bob Shaw of the Milwaukee Braves, but was promptly erased in a double play. Two days later he made his first start, going 1-for-4 at Pittsburgh’s Forbes Field.

When St. Louis called Whitfield up, one of their coaches, Vern Benson, remarked, “He has a quicker bat than anyone on the Cardinals. And he can reach the roof at Busch Stadium.” Benson knew firsthand what Whitfield could do because he had managed Fred at Tulsa. Neal Russo wrote, “Whitfield quickly made a prophet of Benson.” That comment came after Fred’s first big-league homer, on June 10, a three-run blast off San Francisco’s Billy Pierce that cleared the roof. Whitfield had stood his ground after the southpaw decked him twice.

During his time with St. Louis, Whitfield appeared in 73 games, 38 of them in the field (he often served as a pinch-hitter). He got 30 starts while spelling Bill White and hit .266-8-34 in 167 plate appearances. He became the first baseman on the Topps 1963 rookie all-star team.

In December 1962 St. Louis traded Whitfield to the Cleveland Indians for shortstop Jack Kubiszyn (who never played again in the majors) and Ron Taylor (who was an important member of the bullpen for the World Series champions of 1964). Neal Russo wrote, “Because of the new bonus rule, which will reduce the Redbirds to essentially a 23-man roster most of next season, a premium is placed on two-way reserve strength.” Whitfield could play only one position, White was a strong incumbent, and there were other lefty bats on the roster.

Whitfield saw it differently, though. “At the end of that season they [the Cardinals] wanted me to play winter ball,” he told Russell Schneider, “but I wanted to go back home to my farm. That’s when they got rid of me.” One way or the other, “he was one guy you had to be happy for,” said Harry Fanok. “He really deserved it.” The Indians – specifically, manager Birdie Tebbetts and Midwestern scouting supervisor Walter Shannon – had lobbied Cleveland GM Gabe Paul hard to land Whitfield. From his time as Cardinals farm director, Shannon knew Fred’s abilities well.

Whitfield, whom Gabe Paul had compared to Gordy Coleman, was envisaged as a backup to veteran Joe Adcock in Cleveland. It developed into a platoon, however, and Whitfield played more than Adcock in 1963. Whitfield got nearly 90 percent of his at-bats against righty pitchers; as he said in 1965, “Where the story that I couldn’t hit [lefties] started, I really don’t know.” Overall, he hit.251-21-54 in 346 at-bats. The Cardinals rose to second place in the NL in ’63, while Cleveland finished fifth in the AL at 79-83. Still, Fred wasn’t sorry about the trade, saying, “I’m playing here. With them, I’d just be pinch-hitting.”

The Indians wound up trading Adcock to the Los Angeles Angels in December 1963. The door was open for Whitfield to become a full-time player – the first-base job was “his to have and to hold.” Ultimately, though, Cleveland used rookie Bob Chance a good deal at first base in 1964. Again they restricted Whitfield largely to facing righties. He hit .270-10-29 in 293 at-bats.

In December 1964 the Indians traded Chance to the Washington Senators – but in return, they received Chuck Hinton, who was the regular at first base for Cleveland early in the 1965 season. In early May, however, Birdie Tebbetts wanted to get more power into the lineup; he moved Hinton to second base and later the outfield. Whitfield got hot, including 7-for-9 in a doubleheader at Boston’s Fenway Park, and finally laid outright claim to his position. Oddly enough, he said that a stiff back helped him. “My problem, or my biggest one, anyway, is that my bat is too quick. I get around too fast and I’m way ahead of the pitch. But now my back is still a little stiff and it makes me wait longer.”

Whitfield finished the season hitting .293-26-90 in 492 plate appearances. The Sporting News named him the first baseman on its AL All-Star team. With regard to his performance against the Yankees, he had another motive. “I always wanted to show Johnny Keane [who went from the Cardinals to New York after 1964] that he made a mistake about me.” Over his career, he reached Yankee pitchers for 23 homers and a .627 slugging percentage. His next most frequent victim was Boston – “If I knew why I can hit so good against the Red Sox and the Yankees, I’d do the same against all the teams.”

Whitfield’s most frequent home-run victim was Jim Bouton (five in 34 at-bats). Yet he had even more remarkable success against the great Whitey Ford, whom he reached for three homers in just 10 at-bats. He also got three off Dick “The Monster” Radatz of Boston in 18 at-bats – and it’s interesting to note that Fred held both pitchers in high regard. Of Ford, he said in 1966, “He’s smart and knows just where to put the ball. And man, he’s sure got a tough screwball. You don’t know what it’s going to do.” A year before, he’d said that even though he liked the fastball and so was fed a lot of breaking stuff, “Radatz is probably the toughest I’ve faced. He throws that blazer, hard and straight. You know it’s coming, but he’s still tough.”

Whitfield’s approach to hitting wasn’t complicated. “I just go up there and swing at anything that’s moving,” he said. Indeed, the most walks he ever drew in a season was 27 in 1966, and his lifetime on-base percentage was .298.

Off the field in Cleveland, the guitar-picking Whitfield enjoyed his musical pursuits with a different batch of teammates. He, second baseman Larry Brown, and Chuck Hinton formed a clubhouse band, playing mostly country music.

Heading into the 1966 season, Whitfield felt comfortable because Birdie Tebbetts had told him the first-base job was his. He also was just about at his playing weight of 190, because hunting had kept him in shape. He noted that he’d reported 15 pounds heavier in 1965, which contributed to his slow start. His most interesting observation, however, regarded Tigers pitcher Denny McLain, who’d just had his first good year. “McLain has a good curve, sneaky fastball and easy motion. That ball will just sneak right past you. In my book he has the fastest ball of anyone up there. You’ll hear a lot about him later,” Fred correctly predicted.

In ’66, however, Whitfield injured an elbow during the last week of spring training as he dived for a grounder. It hampered his swing all year. That was a big reason why his average dropped off to .241, although he still connected for 27 homers (a personal high in the majors) and drove in 78. The Indians gave him a “pretty nice” salary increase – for the times – to more than $30,000 for 1967.

Whitfield had also set career highs in games played and at-bats during 1966, but that changed in 1967. He didn’t have any competition to begin with because his latest challenger, Bill Davis, had hurt his Achilles tendon while playing basketball. But Fred’s power output went way down – only four homers in April and May – and his average fell off too. Early that June, Cleveland obtained a talented 22-year-old first baseman, Tony Horton, from the Red Sox. Horton’s career foundered in 1970 because of an emotional disorder, but in 1967 his best days were still ahead of him. Whitfield started just 11 games from July on, and he finished the year at .218-9-31 in just 257 at-bats.

Whitfield was sure to be traded, and that November 1967 the Indians dealt him, George Culver, and Bob Raudman to the Cincinnati Reds for Tommy Harper. Whitfield was a reserve in Cincinnati over the next two seasons, backing up Lee May at first base and pinch-hitting frequently. He started 33 games in 1968 and produced reasonably well: .257-6-32 in 171 at-bats. However, he got a mere six starts in 1969. Pinch-hitting accounted for the bulk of his duties – but he was just 8-for-51 in this role in ’69, albeit with a surprisingly high 12 walks. Overall, he hit just .149-1-8.

In November 1969 the Reds sent Whitfield (as well as two other veterans, Dennis Ribant and Jim Beauchamp) to Triple-A Indianapolis to “make room for farmhands on the parent roster.” At some point thereafter, he was released, because he signed as a free agent with Buffalo – the top farm club of the Montreal Expos – in April 1970.

The ailing Bisons franchise moved to Manitoba in June, becoming the Winnipeg Whips. The Whips played a patchwork touring schedule that included some “home” games in Montreal’s Jarry Park. Nonetheless, Whitfield put up fairly good numbers – .265-15-48 in 102 games – and got his last action in the majors that August. Montreal called him up to face righty pitchers after regular first baseman Ron Fairly suffered a broken bone in his right foot when hit by a pitch. Whitfield got four starts at first base, going 1-for-15. He was then returned to Winnipeg, where he finished out his pro career.

“When Montreal let me go, I was ready to go,” Whitfield told Russell Schneider. “I was tired of baseball, and my wife was tired of me traveling and being away from home so much, though we both liked it when I played in Cleveland.” Whitfield then went back to Alabama and joined Anderson Electric Corp., working there as a shipping clerk for 23 years. He remained active in the gospel group that he formed with Helon, Fred Jr., his sister-in-law Susie, and Susie’s boyfriend. They sang in places like nursing homes and churches several times a week.

Jimmy Smothers of the Gadsden Times was another columnist who covered Whitfield in his playing days. In 2008, by then sports editor emeritus, Smothers checked in with Helon Whitfield, who talked about life in the public eye and how the family just tried to stay down to earth. A little over a year later, Fred – who signed autographs by the hundreds in Cleveland – emphasized his ongoing commitment to fan-friendliness. In a typically modest jest about all the mail he received, he said, “I ought to be paying some of the people to take my autograph.” He would even pay for handling and shipping if people didn’t include money or stamped self-addressed envelopes. He summed it up by saying, “Whatever they want, I try to accommodate them.”

 

In mid-December 2012 Whitfield was rushed to Gadsden Regional Hospital. It emerged that a large tumor in his bronchial tube had cut off 90 percent of his breathing – the odds were long that he would even make it through the biopsy, but he overcame that obstacle. The diagnosis was non-Hodgkin’s lymphoma, and the outlook for remission after treatment was good, so Fred chose to fight it. The tumor shrank in response to chemotherapy, but other complications set in, mainly pneumonia and renal failure. Nonetheless, Whitfield stayed mentally strong, sustained by his deep religious faith.

Fred Whitfield died on January 31, 2013, a few weeks past his 75th birthday. He was survived by Helon and their six children, “as well as a host of loving grandchildren and great-grandchildren.”

Upon learning of his old friend’s death, Harry Fanok said, “This has brought tears to my eyes. I know we all have to pass, but this one is hard to take. Wingy was the best of the best, as far as I and many of us players that had contact with him are concerned. He was and always will be one beautiful human being – we will all miss him!”

Wednesday, January 30, 2013

Patty Andrews - #43

Patty Andrews of the last living memeber of the Andrews Sisters, has died, She was number 43 on the list.

Patty Andrews, Singer With Her Sisters, Is Dead at 94






Patty Andrews, the last of the Andrews Sisters, the jaunty vocal trio whose immensely popular music became part of the patriotic fabric of World War II America, died on Wednesday at her home in Los Angeles. She was 94.

Lynda Wells, a niece, confirmed the death.

With their jazzy renditions of songs like “Boogie Woogie Bugle Boy (of Company B),” “Rum and Coca-Cola” and “Don’t Sit Under the Apple Tree (With Anyone Else but Me),” Patty, Maxene and LaVerne Andrews sold war bonds, boosted morale on the home front, performed with Bing Crosby and with the Glenn Miller Orchestra, made movies and entertained thousands of American troops overseas, for whom the women represented the loves and the land the troops had left behind.

Patty, the youngest, was a soprano and sang lead; Maxene handled the high harmony; and LaVerne, the oldest, took the low notes. They began singing together as children; by the time they were teenagers they made up an accomplished vocal group. Modeling their act on the commercially successful Boswell Sisters, they joined a traveling revue and sang at county fairs and in vaudeville shows. Their big break came in 1937 when they were signed by Decca Records, but their first recording went nowhere.

Their second effort featured the popular standard “Nice Work If You Can Get It,” but it was the flip side that turned out to be pure gold. The song was a Yiddish show tune, “Bei Mir Bist Du Schön (Means That You’re Grand),” with new English lyrics by Sammy Cahn, and the Andrews Sisters’ version, recorded in 1937, became the top-selling record in the country.

Other hits followed, and in 1940 they were signed by Universal Pictures. They appeared in more than a dozen films during the next seven years — sometimes just singing, sometimes also acting. They made their film debut in “Argentine Nights,” a 1940 comedy that starred the Ritz Brothers, and the next year appeared in three films with Bud Abbott and Lou Costello:“Buck Privates,” “In the Navy”and “Hold That Ghost.” Their film credits also include “Swingtime Johnny” (1943), “Hollywood Canteen” (1944) and the Bob Hope-Bing Crosby comedy “Road to Rio” (1947).

After selling more than 75 million records, the Andrews Sisters broke up in 1953 when Patty decided to go solo. By 1956 they were together again, but musical tastes were changing and they found it hard to adapt. When LaVerne Andrews died of cancer in 1967, no suitable replacement could be found, and Patty and Maxene soon went their separate ways. Patty continued to perform solo, and Maxene joined the staff of a private college in South Lake Tahoe, California.

Patricia Marie Andrews was born on Feb. 16, 1918, in Minneapolis. Her father, Peter, was a Greek immigrant who changed his name from Andreos to Andrews when he came to America. Her mother, Olga, was Norwegian.

Like her older sisters, Patty learned to love music as a child (she also became a good tap dancer), and she did not have to be persuaded when Maxene suggested that the sisters form a trio in 1932. She was 14 when they began to perform in public.

As their fame and fortune grew, the sisters came to realize that the public saw them as an entity, not as individuals. In a 1974 interview with The New York Times, Patty explained what that was like: “When our fans used to see one of us, they’d always ask, ‘Where are your sisters?’ Every time we got an award, it was just one award for the three of us.” This could be irritating, she said with a touch of exasperation: “We’re not glued together.”

The Andrews Sisters re-entered the limelight in the early 1970s when Bette Midler released her own recording of “Boogie Woogie Bugle Boy,” modeled closely on theirs. It reached the Top 10, and its success led to several new compilations of the Andrews Sisters’ own hits.

The previous year, Patty Andrews had appeared in a West Coast musical called “Victory Canteen,” set during World War II. When the show was rewritten for Broadway and renamed “Over Here!,” the producers decided that the Andrews Sisters were the only logical choice for the leads. They hired Patty and lured Maxene back into show business as well. The show opened in March 1974 and was the sisters’ belated Broadway debut. It was also the last time they sang together.

The sisters got into a bitter money dispute with the producers and with each other, leading to the show’s closing in January 1975 and the cancellation of plans for a national tour. After that, the sisters pursued solo careers into the 1990s. They never reconciled and were still estranged when Maxene Andrews died in 1995.

Patty Andrews’s first marriage, to the movie producer Marty Melcher, lasted two years and ended in divorce in 1949. (Mr. Melcher later married Doris Day.) In 1951 she married Wally Weschler, who had been the sisters’ pianist and conductor and who later became her manager. They had no children. Mr. Weschler died in 2010. Ms. Andrews is survived by her foster daughter, Pam DuBois.

A final salute to the Andrews Sisters came in 1991 in the form of “Company B,” a ballet by the choreographer Paul Taylor subtitled “Songs Sung by the Andrews Sisters.” The work, which featured nine of the trio’s most popular songs, including “Rum and Coca-Cola” and, of course, “Boogie Woogie Bugle Boy,” underscored the enduring appeal of the three sisters from Minneapolis.

Patty, Maxene, and LaVerne appeared in 17 Hollywood films. Their first picture, Argentine Nights, paired them with another enthusiastic trio, the Ritz Brothers. Universal Pictures, always budget-conscious, refused to hire a choreographer, so the Ritzes taught the sisters some eccentric steps. Thus, in Argentine Nights and the sisters' next film, Buck Privates, the Andrews Sisters dance like the Ritz Brothers.

Buck Privates, with Abbott and Costello, featured the Andrews Sisters' best-known song, "Boogie Woogie Bugle Boy." This Don Raye-Hughie Prince composition was nominated for Best Song at the 1941 Academy Awards ceremony.

Universal hired the sisters for two more Abbott and Costello comedies and then promoted them to full-fledged stardom in B musicals. What's Cookin'?, Private Buckaroo, Give Out, Sisters (in which they disguise themselves as old women as part of the zany plot) and Moonlight and Cactus were among the team's popular full-length films.

The Andrews Sisters sing the title song as the opening credits roll and also perform two specialty numbers in the all-star revue Hollywood Canteen (1944). They can be seen singing "You Don't Have to Know the Language" with Bing Crosby in Paramount's Road to Rio with Bob Hope, that year's highest-grossing movie. Their singing voices are heard in two full-length Walt Disney features: "Make Mine Music", in a segment which featured animated characters Johnny Fedora and Alice Blue Bonnet; and "Melody Time", in the segment Little Toot (both of which are available on DVD today).

Film, theatre, and television

(partial list)

 

Filmography

Argentine Nights (Universal Pictures, 1940)

Buck Privates (Universal Pictures, 1941)

In the Navy (Universal Pictures, 1941)

Hold That Ghost (Universal Pictures, 1941)

What's Cookin'? (Universal Pictures, 1942)

Private Buckaroo (Universal Pictures, 1942)

Give Out, Sisters (Universal Pictures, 1942)

How's About It (Universal Pictures, 1943)

Always a Bridesmaid (Universal Pictures, 1943)

Swingtime Johnny (Universal Pictures, 1944)

Moonlight and Cactus (Universal Pictures, 1944)

Follow the Boys (Universal Pictures, 1944)

Hollywood Canteen (Warner Brothers, 1944)

Her Lucky Night (Universal Pictures, 1945)

Make Mine Music (Walt Disney Studios, 1946) – voices only, as singers of one segment

Road to Rio (Paramount Pictures, 1947)

Melody Time (Walt Disney Studios, 1948) – voices only, as singers of one segment

Brother, Can You Spare a Dime? (1975) – newsreel archive footage only

 

Soundtracks

Breach (background music) (2007)

Land of the Lost (2009)

Fallout 3 (2008) (Civilization)

Fallout 4 (2015) (Civilization-Pistol Packin' Mama)

Mafia II (2010) [Boogie Woogie Bugle Boy – Rum and Coca-Cola – Straighten Up And Fly Right – Strip Polka – Hot Time in the Town of Berlin (with Bing Crosby) – Victory Polka (with Bing Crosby)]

Bioshock (2006)

Fallout 76 (2018)

Broadway

Over Here! (1974; Shubert Theater, New York City, 9 months)

Dance

Company B (1991); Choreographed by Paul Taylor, Performed by Paul Taylor Dance Company, American Ballet Theatre, Miami City Ballet, The Sarasota Ballet, and Pacific Northwest Ballet.

 

Television

Appearance on The Joey Bishop Show

They were parodied on Sesame Street as the Androoze Sisters (Muppets), named Mayeeme (Audrey Smith), Pattiz (Maeretha Stewart), and Lavoorrnee (Kevin Clash).

Patty Andrews appeared in season two, episode six, of Here's Lucy, entitled "Lucy And The Andrew Sisters", in which Lucy, Kim, and Craig help Patty recreate the Andrew Sisters with Bing Crosby for a one-night only performance at a convention of the Sisters' oldest fan club.


 

Tuesday, January 29, 2013

Garrett Lewis obit

Garrett Lewis, Award-Winning Set Designer, Dies at 77

Garrett Lewis, an Academy Award-nominated set decorator, died Jan. 29 at his home in Woodland Hills, CA, of natural causes. He was 77. 

He was not on the list.


Garrett Lewis, four time Academy Award nominated set decorator, dancer

and actor, died January 29, 2013 at the age of 77. He was born in St.

Louis, Missouri in 1935 and died at his home in Woodland Hills,

California of natural causes.

 

A native of St. Louis, Missouri, Garrett Lewis had a long and storied

career as a dancer, actor and set decorator. His career began while

still in college when he was offered the dance lead for a season at the

Kansas City Starlight Theatre. After that one season of summer stock,

he went to New York and immediately landed his first Broadway show My

Fair Lady. This was followed by numerous roles in Broadway productions

including Hello Dolly, Vintage '60 and First Impressions.

 

Lewis played the role of Cornelius in Hello Dolly starring opposite

five different leading ladies. First, he went on national tour with

Carol Channing. Hello Dolly was the first stage show at the newly

opened Dorothy Chandler Pavilion in Los Angeles in 1965. He reprised

the role with Mary Martin in London. Hello Dolly made its premiere in

the West End at the Theatre Royal, Drury Lane on December 2, 1965, with

the Queen Mother in attendance. Lewis also performed this role opposite

Carole Cook, Dora Bryan and Patrice Munsel in various productions of

the show.

 

Lewis was a featured performer on The Red Skelton Show and The Julie

Andrews Hour. Aside from his television work, which included many major

network shows at the time on both coasts, he appeared extensively in

clubs across the country, supporting such leading ladies as Anna Maria

Alberghetti, Arlene Dahl, Dorothy Provine and others. He was a soloist

in The Lido Show in Paris, and appeared as the male lead in Little Mary

Sunshine in Paris. Garrett transitioned into film and appeared in both

Star! with Julie Andrews and Funny Lady.

 

By the time Lewis finished Funny Lady in 1975, musicals were becoming

rare. Lewis' friends, agent Sue Mengers and her husband Jean-Claude

Tramont, purchased a home in Bel Air in 1975. They admired the way

Lewis had decorated his own home, and asked him to redesign their new

one. This lead Lewis to designing private homes for celebrities

including Barbra Streisand, Herbert Ross, Barry Diller and many others.

He effortlessly segued into a second career.

 

In the late seventies when Herbert Ross was directing The Turning Point

he asked Lewis to decorate several sets. Later while filming California

Suite, Ross called him in again to assist with the art direction. While

his title was "Pictorial Consultant", his third career as a set

decorator for films was launched.

 

Lewis worked on 39 films as a set decorator and as such was nominated

for four Academy Awards for Art Direction - Beaches, Glory, Hook and

Bram Stoker's Dracula. He was also nominated for a Primetime Emmy for

his work on Gepetto. He created everything from Civil War tents for

Glory to lavish Bugatti inspired furniture for Bram Stoker's Dracula, a

particularly special film for him. His film credits include Mrs.

Doubtfire, Pretty Woman, Steel Magnolias, Backdraft, Hidalgo, Against

All Odds, as well as countless others. His work as a set decorator took

him to Morocco, Canada and all parts of the United States. A longtime

member of the Academy of Motion Pictures Arts and Sciences, he served

on the Executive Committee for the Art Director's branch.

 

Actor

Chevy Chase, Jane Seymour, and Benjean in Oh Heavenly Dog (1980)

Oh Heavenly Dog

5.4

Pamela Natwick Man No. 1

1980

 

Barbra Streisand and James Caan in Funny Lady (1975)

Funny Lady

6.2

Production Singer

1975

 

"The Julie Andrews Hour" Julie Andrews

The Julie Andrews Hour

8.8

TV Series

Dancer

Abraham Lincoln

Photographer

1972–1973

24 episodes

 

Of Thee I Sing (1972)

Of Thee I Sing

6.1

TV Movie

Sam Jenkins

1972

 

Ed Sullivan in The Ed Sullivan Show (1948)

The Ed Sullivan Show

7.9

TV Series

Singer with Abbe Lane

1970

1 episode

 

Red Skelton in The Red Skelton Hour (1951)

The Red Skelton Hour

8.1

TV Series

Dancer

Guest Dancer

1962–1970

15 episodes

 

The Good Guys and the Bad Guys (1969)

The Good Guys and the Bad Guys

6.1

Hawkins

1969

 

Star! (1968)

Star!

6.4

Jack Buchanan

1968

 

Shirley Temple's Storybook (1958)

Shirley Temple's Storybook

7.4

TV Series

The Clockman

1961

1 episode

 

Set Decorator

Jane Fonda, Felicity Huffman, and Lindsay Lohan in Georgia Rule (2007)

Georgia Rule

5.9

Set Decorator

2007

 

Jim Carrey in Fun with Dick and Jane (2005)

Fun with Dick and Jane

6.2

Set Decorator

2005

 

Vince Vaughn and Owen Wilson in Wedding Crashers (2005)

Wedding Crashers

7.0

Set Decorator

2005

 

Viggo Mortensen in Hidalgo (2004)

Hidalgo

6.7

Set Decorator

2004

 

Jodie Foster in Panic Room (2002)

Panic Room

6.8

Set Decorator

2002

 

I Am Sam (2001)

I Am Sam

7.6

Set Decorator (uncredited)

2001

 

Jake Gyllenhaal in Bubble Boy (2001)

Bubble Boy

5.7

Set Decorator

2001

 

Elizabeth Hurley and Brendan Fraser in Bedazzled (2000)

Bedazzled

6.1

Set Decorator

2000

 

The Wonderful World of Disney (1997)

The Wonderful World of Disney

7.4

TV Series

Set Decorator

2000

1 episode

 

Will Smith and Gene Hackman in Enemy of the State (1998)

Enemy of the State

7.3

Set Decorator

1998

 

Nicolas Cage and John Travolta in Face/Off (1997)

Face/Off

7.3

Set Decorator

1997

 

Greg Kinnear in Dear God (1996)

Dear God

5.4

Set Decorator

1996

 

Arnold Schwarzenegger and Vanessa Williams in Eraser (1996)

Eraser

6.2

Set Decorator

1996

 

Julianne Moore and Hugh Grant in Nine Months (1995)

Nine Months

5.5

Set Decorator

1995

 

Michael Douglas and Demi Moore in Disclosure (1994)

Disclosure

6.2

Set Decorator

1994

 

The Shadow (1994)

The Shadow

6.0

Set Decorator

1994

 

Robin Williams, Sally Field, Lisa Jakub, Matthew Lawrence, and Mara Wilson in Mrs. Doubtfire (1993)

Mrs. Doubtfire

7.1

Set Decorator

1993

 

Malice (1993)

Malice

6.5

Set Decorator

1993

 

Anthony Hopkins, Gary Oldman, Keanu Reeves, Winona Ryder, Monica Bellucci, Sadie Frost, Michaela Bercu, and Florina Kendrick in Bram Stoker's Dracula (1992)

Bram Stoker's Dracula

7.4

Set Decorator

1992

 

Dustin Hoffman, Julia Roberts, Robin Williams, Bob Hoskins, Dante Basco, David Crosby, Robert Amico, Jasen Fisher, Stephanie Furst, Raushan Hammond, James Madio, Regina Russell Banali, Alex Zuckerman, and Paul Babb in Hook (1991)

Hook

6.8

Set Decorator

1991

 

Backdraft (1991)

Backdraft

6.7

Set Decorator

1991

 

Misery (1990)

Misery

7.8

Set Decorator

1990

 

Richard Gere and Julia Roberts in Pretty Woman (1990)

Pretty Woman

7.1

Set Decorator

1990

 

Matthew Broderick in Glory (1989)

Glory

7.8

Set Decorator

1989

 

Julia Roberts, Sally Field, Daryl Hannah, Shirley MacLaine, Dolly Parton, and Olympia Dukakis in Steel Magnolias (1989)

Steel Magnolias

7.3

Set Decorator

1989

 

Pat Morita and Jay Leno in Collision Course (1989)

Collision Course

4.6

Set Decorator

1989

 

Bette Midler and Barbara Hershey in Beaches (1988)

Beaches

7.0

Set Decorator

1988

 

The Monster Squad (1987)

The Monster Squad

6.9

Set Decorator

1987

 

Crimes of the Heart (1986)

Crimes of the Heart

6.3

Set Decorator

1986

 

Short Circuit (1986)

Short Circuit

6.6

Set Decorator

1986

 

Ed Harris and Jessica Lange in Sweet Dreams (1985)

Sweet Dreams

7.0

Set Decorator

1985

 

American Flyers (1985)

American Flyers

6.5

Set Decorator

1985

 

Jeff Bridges and Rachel Ward in Against All Odds (1984)

Against All Odds

5.9

Set Decorator

1984

 

Diner

6.7

TV Movie

Set Decorator

1983

 

I Want to Live (1983)

I Want to Live

6.6

TV Movie

Set Decorator

1983

 

Max Dugan Returns (1983)

Max Dugan Returns

6.7

Set Decorator

1983

 

Pennies from Heaven (1981)

Pennies from Heaven

6.5

Set Decorator

1981

 

Harrison Ford, Anthony Daniels, Carrie Fisher, Mark Hamill, Kenny Baker, and Peter Mayhew in The Star Wars Holiday Special (1978)

The Star Wars Holiday Special

2.2

TV Movie

Set Decorator

1978

 

Additional Crew

Alan Alda, Michael Caine, Jane Fonda, Walter Matthau, Bill Cosby, Richard Pryor, Maggie Smith, and Elaine May in California Suite (1978)

California Suite

6.2

pictorial consultant

1978

 

Huckleberry Finn (1974)

Huckleberry Finn

5.6

assistant choreographer

1974


Butch Morris obit

Lawrence D. “Butch” Morris, inventor of musical conduction, dead at 65

 

He was not the list.


This morning great musical thinker Lawrence D. “Butch” Morris passed away at Veterans Affairs Medical Center in the Fort Hamilton section of Brooklyn following a struggle with cancer. He was 65 years old. Though Morris started out as a cornetist—first in his native California, later in New York—he was known best for “conduction,” a term he borrowed from physics to describe a way of organizing, shaping, and leading group improvisation. He developed an interest in doing so in 1971, after moving from Los Angeles to Oakland; he began working with jazz drummer Charles Moffett, who used a basic set of gestures to spontaneously alter the performance of a given piece. But it wasn’t until 1976, when Morris arrived in New York and got involved with the loft-jazz scene, that his concept of conduction came together.

Morris was born in Long Beach, California, United States. Before beginning his musical career, he served in the U.S. Army as a medic in Germany, Japan and Vietnam during the Vietnam War. Morris came to attention with saxophonist David Murray's groups in the late 1970s and early 1980s. Morris's brother, double bassist Wilber Morris, sometimes performed and recorded with Murray during this period. Morris led a group called Orchestra SLANG. The group features Drummer Kenny Wollesen, alto saxophonist Jonathon Haffner, trumpeter Kirk Knuffke and others. He performed and presented regularly as part of the Festival of New Trumpet Music, held annually in New York City. Morris wrote most of the incidental music for the 1989 TV show, A Man Called Hawk, which starred Avery Brooks, with whom he co-wrote the theme music, along with Stanley Clarke. He also played with well-known artist and would-be drummer A.R. Penck in 1990. For AudioBox Matera 1990: International Festival of Sound Experimentation (Pinotto Fava, curator), Morris created Spiriti Materani featuring Wayne Horvitz (keyboards, electronics), J. A. Deane (trombone, electronics), and Butch (cornet). The project took place in Madonna delle Virtù, a 12th-century rupestrian church in Sasso Caveoso, Matera, Italy.