On this day…
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When Judy Garland walked into a Hollywood studio and asked for a job on the strength of her eight years of stage experience no one seems to question such a lengthy apprenticeship. Young Judy had the bearing of a seasoned trouper. What was more, it was real.
Judy was literally borne into the theater, both her parents having been professionals. Her birthplace is Grand Rapids, Minn. When she was three she started singing professionally with her elder sisters, Virginia and Suzanne. Before she was five she was singing in vaudeville. It was while the trio was appearing on the same program with George Jessel that he decided Garland was a better name than Gumm, under which the girls had been born.
Judy made her screen bow in company with Deanna Durbin in a short titled “Every Sunday.” “Pigskin Parade” shot her stock upward, and it has been on the soar ever since. Judy is an expert tap dancer, plays the piano; likes to draw. Riding and swimming are her pastimes, along with a lot of reading. She has brown hair and eyes, and pints to fifteen – or is it sixteen by this time – birthdays.
April 19, 1941: MGM’s famous designer, Adrian, created these outfits for Judy for Ziegfeld Girl. MGM was still marketing Judy as an example of the latest in teen fashion. “Judy Garland Dresses” and “Judy Garland Hats” were promoted in stores across the nation and had been for several years even though half of the clothing had nothing to do with Judy or her films, they were simply kids and teen fashions of the day.
The second clipping is from Sheilah Graham’s column in which she called Judy’s legs “the prettiest in town.” Graham obviously didn’t care for Hedy Lamarr’s performance in Ziegfeld Girl.
Check out The Judy Room’s Extensive Spotlight Section on Ziegfeld Girl at http://www.thejudyroom.com/ziegfeldgirl.html.
Here are a few more photos of Judy in the three outfits featured in the clipping above:
April 19, 1943: After a day out sick from filming the “Embraceable You” number for Girl Crazy and her other obligations, Judy was back at the studio to film more of the number and other scenes on the ‘Interior Assembly Hall” set. Time called: 10 a.m.; dismissed: 5:30 p.m.
Per the assistant director’s notes: “10:00 a.m.: Makeup Phoned – they were having a little delay covering JG’s [Judy Garland’s] eye cut; 10:10-10:40: Consultation with Mr. Freed [the film’s producer Arthur Freed] and Dr. Jones [studio doctor] as to whether to call shooting off due to possible head ache from moving around with swollen eye; Dr. Jones suggested Ice Packs of 10 minutes each between shooting shots, Mr. Freed decided to shoot only long shots today.”
Check out The Judy Room’s Filmography Pages on Girl Crazy at http://www.thejudyroom.com/girlcrazy.html
Below, more of that great newspaper artwork this time of Mickey and Judy in Girl Crazy.
The incredible cast was as follows:
Also on April 19, 1945: Decca Records released Judy’s duets with Bing Crosby, “Yah-Ta-Ta, Yah-Ta-Ta (Talk, Talk, Talk)” and “You’ve Got Me Where You Want Me,” on Decca Single #23410. “Yah-Ta-Ta” was recorded on March 9, 1945, and “You’ve Got Me” was recorded on July 31, 1944.
Check out The Judy Garland Online Discography’s extensive “Decca Records” section at http://thejudyroom.com/decca.html
April 19, 1956: The 10″ version of the Decca Records LP “Judy at the Palace” was on sale for only $2.00! The album wasn’t an album of recordings made during her legendary run at the Palace Theater in New York but actually the 10″ “long playing” version of a compilation of Judy’s recordings made for the label in the 1930s and 1940s. Decca released the album in 1951 with the title “Judy at the Palace” added to take advantage of her great Palace comeback.
(Dear Mr. Gable) You Made Me Love You
Recorded September 24, 1937
Over The Rainbow
Recorded July 28, 1939
The Trolley Song
Recorded April 21, 1944
Recorded July 28, 1939
For Me And My Gal (with Gene Kelly)
Recorded July 26, 1942
When You Wore A Tulip (And I Wore A Big Red Rose) (with Gene Kelly)
Recorded July 26, 1942
Check out The Judy Garland Online Discography’s “Judy at the Palace” (Decca) pages for information about the various releases of this album: http://www.thejudyroom.com/decca/palace.html
April 19, 1958: Judy was so loved by audiences, peers, and critics that it’s rare to see a contemporary review or column that’s decidedly negative towards her. Here is one. In his “my new york” column Mel Heimer doesn’t hide his disdain for Judy even though, in the end, he does give her a sort of backhanded compliment by calling her “a pro” and “human.”
NEW YORK – Miss Judy Garland has been in town these days, tearing up the pea patch, and the betting men along Broadway are getting ready at long last to write her off. “This girl,” they have been saying in their delicate patois, “has had it. Cross her out. The show is over.”
The suggestion here, from a man who has been a solid anti-Garland man almost from the first, is to wait a while.
It isn’t only that Judy has made more comebacks than Ray Robinson and it isn’t only that she has a large, hard core of admirers who would follow her to Sammy’s Bowery or similar ends of the earth just to hear that professional catch in her voice.
It’s a larger reason. Miss G. is a human being. I will try to skirt the edges of the maudin [sic] – but humans can take lots of beating before they throw in the towel. As long as a human is breathing in and out, you can’t truly write him off. How did that line by Louis Untermeyer go? “But name me not with the defeated; tomorrow, again, I begin…” [Judy Room Note: Untermeyer wrote the liner notes to the 1951 album “Judy at the Palace” noted above.]
THE LATEST GARLAND DIDO took place in, of all places, Brooklyn. In a way, it makes sense. It doesn’t seem possible that anyone can have as turbulent a life as Judy and have as many events happen to her, without at least one of them occurring in Brooklyn. It is, after all, the same borough where Babe Herman once was hit on the head by a fly ball and fleet-footed Dodger stole third while a teammate still was standing on it.
Making head or tail of what happened isn’t easy. It never is, where Miss G. is concerned. So much of her life, professional and personal, seems to have been lived in an eerie half-world, where fact is hard to separate from fiction.
Evidently she was singing, but not often, at the barn-like Town and Country club in Flatbush, a 1,700-capacity night club operated by Ben Maksik, and evidently the last blow-up came when she sang two songs at 10 p.m., announced she had laryngitis and couldn’t continue, further announced she had been fired, anyway – and walked off as the uproar began.
Sid Luft was on hand, too. Nobody explained this. He is her manager, but early in March she sued him for divorce. Luft has come a long and confusing way since we played baseball for rival high schools in Yonkers, N.Y.
New York took the news almost calmly with its morning cigaret [sic] and coffee. Here, it’s figured that it’s a lean year when Miss G. isn’t involved with a story like this. When Marie McDonald was kidnapped, unquote, Manhattanites were flabbergasted. They couldn’t figure out how it had happened to her and not Judy.
THIS HAS BEEN, OF COURSE, the scene of her greatest triumph, to coin a phrase. It wasn’t too many long years ago that Miss Garland, dead as a doornail in show business after some whimsical scenes in Hollywood, opened at the Palace, which had been a movie house for too long, and fractured the natives.
It was at the Palace that Judy began to practice (now so devastatingly mimicked by the talented Carol Channing) of sitting on the stage apron with tears on her cheeks and telling the audiences how wonderful they were. I note with interest that even in Brooklyn the other night as she wandered off, Miss Judy stretched her hands out wistfully and cried, “You’ve been a wonderful audience; I love you all!”
Those Palace days – that was when Judy could do no wrong; standing ovations when she entered Sardi’s were the order of the day. Everyone but me went around talking of this child’s marvelous talent?
Me? Just a misanthrope. I suppose. It’s a question of personal taste. I stiffen up and demand sincerity when I hear a girl singer – the sincerity, say, of a Peggy Lee or Billie Holiday or Ella Fitzgerald. To me. Miss Judy is all tricks, all gimmicks, all carefully studied catches in her voice.
However, despite my aversion, I’d always considered her a pro. Now, after Brooklyn . . . well, I just don’t know. I will just say, cautiously, don’t write her off yet. Miss Garland is a human. The resilience of the human remains ever astonishing and encouraging.
April 19, 1967: This rather unflattering photo of Judy was published in several papers, along with this photo of her fourth husband, Mark Herron, announcing their divorce. At this time, Judy was in the middle of work on Valley of the Dolls, which she would leave at the end of the month having recorded her one song, “I’ll Plant My Own Tree” as well as the filming of some scenes. The footage is not known to exist.