Bing Crosby Informations

Harry Lillis "Bing" Crosby Jr. (/ˈkrɒzbi/; May 3, 1903 – October 14, 1977) was an American singer and actor. The first multimedia star, Crosby was a leader in record sales, radio ratings, and motion picture grosses from 1931 to 1954.:8 His early career coincided with recording innovations that allowed him to develop an intimate singing style that influenced many male singers who followed him, including Perry Como,Frank Sinatra, Dick Haymes, and Dean Martin. Yank magazine said that he was "the person who had done the most for the morale of overseas servicemen" during World War II. In 1948, American polls declared him the "most admired man alive", ahead of Jackie Robinson and Pope Pius XII.:6 Also in 1948, Music Digest estimated that his recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music.

Crosby won an Academy Award for Best Actor for his role as Father Chuck O'Malley in the 1944 motion picture Going My Way and was nominated for his reprise of the role in The Bells of St. Mary's opposite Ingrid Bergman the next year, becoming the first of six actors to be nominated twice for playing the same character. In 1963, Crosby received the first Grammy Global Achievement Award. He is one of 33 people to have three stars on the Hollywood Walk of Fame, in the categories of motion pictures, radio, and audio recording. He was also known for his collaborations with longtime friend Bob Hope, starring in the Road to... films from 1940 to 1962.

Crosby influenced the development of the postwar recording industry. After seeing a demonstration of a German broadcast quality reel-to-reel tape recorder brought to America by John T. Mullin, he invested $50,000 in a California electronics company called Ampex to build copies. He then convinced ABC to allow him to tape his shows. He became the first performer to pre-record his radio shows and master his commercial recordings onto magnetic tape. Through the medium of recording, he constructed his radio programs with the same directorial tools and craftsmanship (editing, retaking, rehearsal, time shifting) used in motion picture production, a practice that became an industry standard. In addition to his work with early audio tape recording, he helped to finance the development of videotape, bought television stations, bred racehorses, and co-owned the Pittsburgh Pirates baseball team.

Crosby was born on May 3, 1903 in Tacoma, Washington, in a house his father built at 1112 North J Street. In 1906, his family moved to Spokane in eastern Washington state, where he was raised. In 1913, his father built a house at 508 E. Sharp Avenue. The house sits on the campus of his alma mater, Gonzaga University. It functions today as a museum housing over 200 artifacts from his life and career, including his Oscar.

He was the fourth of seven children: brothers Laurence Earl (Larry) (1895–1975), Everett Nathaniel (1896–1966), Edward John (Ted) (1900–1973), and George Robert (Bob) (1913–1993); and two sisters, Catherine Cordelia (1904–1974) and Mary Rose (1906–1990). His parents were Harry Lowe Crosby (1870–1950), a bookkeeper, and Catherine Helen "Kate" (née Harrigan; 1873–1964). His mother was a second generation Irish-American. His father was of Scottish and English descent; an ancestor, Simon Crosby, emigrated from Scotland to New England in the 1630s during the Puritan migration to New England. Through another line, also on his father's side, Crosby is descended from Mayflower passenger William Brewster (c. 1567 – April 10, 1644).:24 On November 8, 1937, after Lux Radio Theatre's adaptation of She Loves Me Not, Joan Blondell asked Crosby how he got his nickname:

Crosby: "Well, I'll tell you, back in the knee-britches day, when I was a wee little tyke, a mere broth of a lad, as we say in Spokane, I used to totter around the streets, with a gun on each hip, my favorite after school pastime was a game known as "Cops and Robbers", I didn't care which side I was on, when a cop or robber came into view, I would haul out my trusty six-shooters, made of wood, and loudly exclaim bing! bing!, as my luckless victim fell clutching his side, I would shout bing! bing!, and I would let him have it again, and then as his friends came to his rescue, shooting as they came, I would shout bing! bing! bing! bing! bing! bing! bing! bing!"Blondell: "I'm surprised they didn't call you "Killer" Crosby! Now tell me another story, Grandpa!Crosby: "No, so help me, it's the truth, ask Mister De Mille."De Mille: "I'll vouch for it, Bing."

That story was pure whimsy for dramatic effect and the truth is that a neighbor – Valentine Hobart – named him "Bingo from Bingville" after a comic feature in the local paper called "The Bingville Bugle" which the young Harry liked. In time, Bingo got shortened to Bing.

In 1917, Crosby took a summer job as property boy at Spokane's "Auditorium," where he witnessed some of the finest acts of the day, including Al Jolson, who held him spellbound with ad libbing and parodies of Hawaiian songs. He later described Jolson's delivery as "electric."

Crosby graduated from Gonzaga High School (today's Gonzaga Prep) in 1920 and enrolled at Gonzaga University. He attended Gonzaga for three years but did not earn a degree. As a freshman, he played on the university's baseball team. The university granted him an honorary doctorate in 1937. Today, Gonzaga University houses a large collection of photographs, correspondence, and other material related to Crosby.

In 1923, Crosby was invited to join a new band composed of high-school students a few years younger than himself. Al Rinker, Miles Rinker, James Heaton, Claire Pritchard and Robert Pritchard, along with drummer Crosby, formed the Musicaladers, who performed at dances both for high-school students and club-goers. The group performed on Spokane radio station KHQ, but disbanded after two years.:92–97 Crosby and Al Rinker then obtained work at the Clemmer Theatre in Spokane (now known as the Bing Crosby Theater). Crosby was initially a member of a vocal trio called 'The Three Harmony Aces' with Al Rinker accompanying on piano from the pit, to entertain between the films. Bing and Al continued at the Clemmer Theatre for several months often with three other men – Wee Georgie Crittenden, Frank McBride and Lloyd Grinnell – and they were billed The Clemmer Trio or The Clemmer Entertainers depending who performed.

In October 1925, Crosby and his partner Al Rinker, brother of singer Mildred Bailey, decided to seek fame in California. They traveled to Los Angeles where they met Bailey. She introduced them to her show business contacts. The Fanchon and Marco Time Agency hired them for thirteen weeks for the revue The Syncopation Idea starting at the Boulevard Theater in Los Angeles and then on the Loew's circuit. They each earned $75 a week. As minor parts of The Syncopation Idea Crosby and Rinker started to develop as entertainers. They had a lively style that was popular with college students. After The Syncopation Idea closed, they worked in the Will Morrissey Music Hall Revue. They honed their skills with Morrissey. When they got a chance to present an independent act, they were spotted by the Paul Whiteman organization. Whiteman needed something different to break up his musical selections, and Crosby and Rinker filled this requirement. After less than a year in show business, they were attached to one of the biggest names. Hired for $150 a week in 1926, they debuted with Whiteman on December 6 at the Tivoli Theatre in Chicago. Their first recording, in October 1926, was "I've Got the Girl" with Don Clark's Orchestra, but the Columbia-issued record was inadvertently recorded at a slow speed, which increased the singers' pitch when played at 78 rpm. Throughout his career, Crosby often credited Bailey for getting him his first important job in the entertainment business.

Success with Whiteman was followed by disaster when they reached New York. Whiteman considered letting them go. However, the addition of pianist and aspiring songwriter Harry Barris made the difference, and "The Rhythm Boys" were born. The additional voice meant they could be heard more easily in large New York theaters. Crosby gained valuable experience on tour for a year with Whiteman and performing and recording with Bix Beiderbecke, Jack Teagarden, Tommy Dorsey, Jimmy Dorsey, Eddie Lang, and Hoagy Carmichael. He matured as a performer and was in demand as a solo singer.

Crosby became the star attraction of the Rhythm Boys. In 1928 he had his first number one hit, a jazz-influenced rendition of "Ol' Man River". In 1929, the Rhythm Boys appeared in the film King of Jazz with Whiteman, but Crosby's growing dissatisfaction with Whiteman led to the Rhythm Boys leaving his organization. They joined the Gus Arnheim Orchestra, performing nightly in the Cocoanut Grove of the Ambassador Hotel. Singing with the Arnheim Orchestra, Crosby's solos began to steal the show while the Rhythm Boys act gradually became redundant. Harry Barris wrote several of Crosby's hits, including "At Your Command", "I Surrender Dear", and "Wrap Your Troubles in Dreams". When Mack Sennett signed Crosby to a solo recording contract in 1931, a break with the Rhythm Boys became almost inevitable. Crosby married Dixie Lee in September 1930. After a threat of divorce in March 1931, he applied himself to his career.

On September 2, 1931, Crosby made his nationwide solo radio debut. Before the end of the year, he signed with both Brunswick and CBS Radio. Doing a weekly 15-minute radio broadcast, Crosby became a hit. "Out of Nowhere", "Just One More Chance", "At Your Command" and "I Found a Million Dollar Baby (in a Five and Ten Cent Store)" were among the best selling songs of 1931.

Ten of the top 50 songs of 1931 included Crosby with others or as a solo act. A "Battle of the Baritones" with singer Russ Columbo proved short-lived, replaced with the slogan "Bing Was King". Crosby played the lead in a series of musical comedy short films for Mack Sennett, signed with Paramount, and starred in his first full-length film 1932's The Big Broadcast (1932), the first of 55 films in which he received top billing. He would appear in 79 pictures. He signed a contract with Jack Kapp's new record company, Decca, in late 1934.

His first commercial sponsor on radio was Cremo Cigars and his fame spread nationwide. After a long run in New York, he went back to Hollywood to film The Big Broadcast. His appearances, records, and radio work substantially increased his impact. The success of his first film brought him a contract with Paramount, and he began a pattern of making three films a year. He led his radio show for Woodbury Soap for two seasons while his live appearances dwindled. His records produced hits during the Depression when sales were down. Audio engineer Steve Hoffman stated, "By the way, Bing actually saved the record business in 1934 when he agreed to support Decca founder Jack Kapp's crazy idea of lowering the price of singles from a dollar to 35 cents and getting a royalty for records sold instead of a flat fee. Bing's name and his artistry saved the recording industry. All the other artists signed to Decca after Bing did. Without him, Jack Kapp wouldn't have had a chance in hell of making Decca work and the Great Depression would have wiped out phonograph records for good."

His social life was frantic. His first son Gary was born in 1933 with twin boys following in 1934. By 1936, he replaced his former boss, Paul Whiteman, as host of the weekly NBC radio program Kraft Music Hall, where he remained for the next ten years. "Where the Blue of the Night (Meets the Gold of the Day)", with his trademark whistling, became his theme song and signature tune.

In 1936, Crosby exercised an option from Paramount to make a film out-of-house. He signed a one-film agreement with Columbia. Crosby wanted his friend Louis Armstrong, who influenced his singing style, to appear in Pennies from Heaven, a screen adaptation of The Peacock Feather. He asked Harry Cohn, but Cohn had no desire to pay for the flight or to meet Armstrong's "crude, mob-linked but devoted manager, Joe Glaser." Crosby threatened to leave the film and refused to discuss it any more with Cohn. Armstrong's musical scenes, and comic dialogue improved his career. Crosby gave Armstrong equal billing with white co-stars. Armstrong starred as himself in many more films and appreciated Crosby's lack of racism, often thanking him in later years.

Crosby's vocal style helped take popular singing beyond the "belting" associated with Al Jolson and Billy Murray, who had been obligated to reach the back seats in New York theaters without the aid of the microphone. As music critic Henry Pleasants noted in The Great American Popular Singers, something new had entered American music, a style that might be called "singing in American" with conversational ease. This new sound led to the popular epithet "crooner".

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