Saturday, 11 July 2015

National Revolution and Solidarity Day

National Revolution and Solidarity Day

In Bangladesh, November 7 was praised as the National Revolution and Solidarity Day. This remembers the 1975 uprising framed by the individuals and troopers. The uprising, drove by Colonel Abu Taher and his political gathering Jatiyo Samajtantrik Dal, finished the three day overthrow sorted out without anyone else's input announced Major General Khaled Mosharraf. It helped Major General Ziaur Rahman, originator of Bangladesh Nationalist Party, to snatch control over the long haul.

Bangladesh Awami League

The Bangladesh Awami League (Bengali: বাংলাদেশ আওয়ামী লীগ; deciphered from Urdu: Bangladesh People's League), is one of the two biggest political gatherings of Bangladesh. It is the nation's ebb and flow overseeing gathering, in the wake of winning a lion's share in vigorously censured 2014 parliamentary races where the greater part seats were uncontested.

The All Pakistan Awami Muslim League was established in Dhaka, the previous capital of the Pakistani territory of East Bengal, in 1949 by Bengali patriots Maulana Abdul Hamid Khan Bhashani, Yar Mohammad Khan, Shamsul Huq, and later Huseyn Shaheed Suhrawardy who went ahead to end up Prime Minister of Pakistan. The Pakistan Awami Muslim League was built up as the Bengali different option for the command of the Muslim League in Pakistan and over centralisation of the legislature . The gathering immediately increased huge famous backing in East Bengal, later named East Pakistan, and in the long run drove the strengths of Bengali patriotism in the battle against West Pakistan's military and political foundation. The gathering under the authority of Sheik Mujibur Rahman, the establishing father of Bangladesh, would lead the battle for freedom, first through enormous populist and common rebellion developments, for example, the Six Point Movement and 1971 Non-Cooperation Movement, and after that amid the Bangladesh Liberation War. After the rise of autonomous Bangladesh, the Awami League would win the first broad races in 1973 however was toppled in 1975 after the death of Sheik Mujibur Rahman. The gathering was constrained by ensuing military administrations into political wild and a large portion of its senior pioneers and activists were executed and imprisoned. After the reclamation of popular government in 1990, the Awami League developed as one of the key players of Bangladeshi legislative issues.

Amongst the pioneers of the Awami League, five have turn into the President of Bangladesh, four have turn into the Prime Minister of Bangladesh and one turned into the Prime Minister of Pakistan. Since the freedom of Bangladesh, the gathering has been under the control of the group of Sheik Mujibur Rahman. His little girl furthermore the occupant Prime Minister of Bangladesh, Sheik Hasina, hosts been heading the get-together since 1981. The understudy wing of the gathering is the Bangladesh Chhatra League.

On this day the first Chief Justice of Bangladesh Abu Sadat Mohammad Sayem was made the President of Bangladesh and Chief Martial Law Administrator (CMLA) by Bangladesh Army and Major General Zia was made Deputy CMLA. Equity Sayem was not chose by Jatiyo Sangshad nor an acting president. Months after the fact Justice Sayem ventured down on wellbeing reason, and Zia took the both posts of president and CMLA. Inside of the following year Major General Zia hanged Colonel Taher, alongside a few flexibility contenders of the Liberation War of Bangladesh of 1971, through hurried military tribunal.

Really this day is in the arrangement of overthrows and counter-upsets those happened after the Assassination of Sheik Mujibur Rahman, the author President of Bangladesh on 15 August 1975.

Belief system

The Bangladesh Awami League styles itself as the pioneer of the "professional freedom" constrains in Bangladesh, advancing mainstream and social vote based areas of the political foundation in the nation. The gathering constitution states, and in two cases characterizes the explanation behind, four crucial standards in controlling its logic and arrangements

Before the 2008 general decisions in Bangladesh, the Awami League reported in its proclamation, its "Vision 2021" and "Computerized Bangladesh" activity arrangements to change Bangladesh into a quick creating center salary nation by 2021. The gathering uses the expression "Shonar Bangla", or brilliant Bengal, to portray its vision for Bangladesh to turn into a current created country. The term is reminiscent of Bangladesh's national song of devotion and an idealistic vision in Bengali patriotism.

On 14 August 1947, the segment of India saw the foundation of the Muslim condition of Pakistan on the premise of the Two-Nation Theory. The new nation embodied two wings, isolated by 1000 miles of Indian region, in the Indian Subcontinent. The western wing comprised of the regions of Punjab, Sindh, North West Frontier Province and Balochistan, while the territory of East Bengal constituted the eastern wing. From the onset of autonomy, Pakistan was driven by its originator Muhammad Ali Jinnah and his Muslim League party.

Early Pakistan time

In 1948, there was rising unsettling in East Bengal against the exclusion of Bengali script from coins, stamps and government exams. A huge number of understudies, for the most part from the University of Dhaka, dissented in Dhaka and conflicted with security strengths. Unmistakable understudy pioneers including Shamsul Huq, Khaleque Nawaz khan, Shawkat Ali, Kazi Golam Mahboob, Oli Ahad, Sheik Mujibur Rahman and Abdul Wahed were captured and the police were blamed for inordinate mercilessness while charging dissenters. In March, senior Bengali political pioneers were assaulted whilst driving dissents requesting that Bengali be pronounced an official dialect in Pakistan. The pioneers incorporated the A. K. Fazlul Huq, the previous Prime Minister of unified Bengal.

In the midst of the rising discontent in East Bengal, Jinnah went to Dhaka and reported that Urdu would be sole state dialect of Pakistan given its criticalness to Islamic patriotism in South Asia. The declaration brought on commotion in East Bengal, where the local Bengali populace detested Jinnah for his endeavors to force a dialect they scarcely caught on. The disdain was further filled by rising victimization Bengalis in government, industry, organization and the military and the strength of the Muslim League. The Bengalis contended that they constituted the ethnic larger part of Pakistan's populace and Urdu was remote to the place where there is Bengal, situated in the eastern Indian Subcontinent. In addition, the rich scholarly legacy of the Bengali dialect and the profound established mainstream society of Bengali society prompted an in number feeling of etymological and social patriotism amongst the populace of East Bengal. Against this scenery, Bengali patriotism started to flourish inside of the Muslim League and the party's Bengali individuals started to revolt.

All Pakistan Awami Muslim League

On 23 June 1949, Bengali patriots from East Bengal split far from the Muslim League, Pakistan's prevailing political gathering, and set up the All Pakistan Awami Muslim League. The gathering was established at the Rose Garden manor in the old piece of Dhaka. Maulana Abdul Hamid Khan Bhashani and Shamsul Huq were chosen the first President and General Secretary of the gathering individually, Ataur Rahman Khan was chosen the Vice President while Sheik Mujibur Rahman, Khondaker Mostaq Ahmad and A. K. Rafiqul Hussain were chosen the party's first Joint Secretaries. The gathering was framed to champion the privileges of masses in Pakistan against the intense primitive foundation drove by the Muslim League. On the other hand, because of its quality originating from the separated Bengali populace of Pakistan's eastern wing, the gathering in the long run got to be related and related to East Bengal.

In 1952, the Awami Muslim League and its understudy wing assumed an instrumental part in the Bengali Language Movement, amid which Pakistani security strengths let tons of dissenting understudies requesting Bengali be announced an official dialect of Pakistan and broadly killing various understudies including Abdus Salam, Rafiq Uddin Ahmed, Abul Barkat and Abdul Jabbar.[15] The occasions of 1952 are generally seen by students of history today as a defining moment in the historical backdrop of Pakistan and the Bengali individuals, as it was the beginning stage of the Bengali patriot battle that in the end built up and finally finished in the production of Bangladesh in 1971.[14]

In 1953, the party's committee meeting voted to drop "Muslim" from its name keeping in mind the end goal to give it a more common viewpoint, inferable from need of including the territory's substantial Hindu populace in Pakistani politics.[14] Although mainstream in standpoint today, the Awami League's unique "Principle Demands" by Shamsul Huq alludes to Allah as being "not for Muslims" but rather as "the God of the whole humankind regardless of country, religion and shading," and the acknowledgment of "Rububuiyat or lordship of Allah" as the "first and most vital obligation."

United Front[edit]

In the keep running up toward the East Bengal Legislative Assembly Elections in 1954, the Awami League led the pack in transactions in framing a container Bengali political collusion including the Krishak Praja Party, Nizam-e-Islam and Ganatantri Dal. The collusion was termed the Jukta Front or United Front and defined the Ekush Dafa, or 21-point Charter, to battle the Muslim League. The gathering additionally took the memorable choice to embrace the conventional Bengali pontoon, which implied the connection to country Bengal, as its race image.

The race cleared the United Front coalition into force in East Bengal with a huge order of 223 seats out of 237 seats. The Awami League itself won 143 seats while the Muslim League won just 9 seats. Veteran understudy pioneer and dialect development stalwart Khaleque Nawaz Khan crushed occupant leader of the then East Bengal Mr. Nurul Amin in an avalanche edge. Mr. Nurul Amin was vanquished in his home Nandail body electorate. Khaleque Nawaz Khan made history at age 27 by crushing sitting leader and Muslim Leaague w

Wednesday, 29 April 2015

Arun from the Minister


Arun from the Minister

 
Muhammad Zafar Iqbal, a teenage novel, "The established figure two," an adjustment of the show of the equal name Morshedul Mohammadanism wrap. Was free in 1996. The patois of Arun Saha played. When he was exclusive 13 eld old. She is recognised as a offspring by her execution won the Human Medium Qualification Arun. "Dipu Figure Two," as excavation as the overseas nature of the pictures were high popularity. After the freeing of the cinema, all in the denote of Arun She began to sing.

"Dipu Enumerate Two 'photo perspective sahaekhana Arun Arun is drudging with euphony. Neoclassic Euphony Establishment of the Bailiwick Establishment of the port, chayanatasaha arkestrala music performing in diametrical places. Diversion the classical bass and tramapeta. Sandwich neoclassic music has been performed to be on receiver. Though grouping are now full-fledged song, performing cohort could pay the day vulnerabilities. And why you require to be a regular theater. If you same the news and the character he welcome to diversion lesser or big lite of these issues, says Arun Saha unobstructed.

She was feeling from the sun ...
The feeling is like no other feeling in comparison with those. I would very much like to see pictures of all posters. People called me a minister. Would be much appreciated. "Minister number two 'tours to Japan when Japan was invited to a film festival. In all the time I had the gold.
National Film Award ...

"Dipu Come two, two-three geezerhood after the ooze of photos of progeny conventional the Nationalist Wrapping Symbol. The Period Reverend gave the decoration in my writing, put the medal around his neck. Unusual abstraction happened that day. Abstraction to put the honor around my neck, she suddenly exploded in the ribbon ribbons. When mangy around my cervix and put it on tapeline, he gittu. I'm impressed. He gift never block the events of any day. Gittu diligently to this day I get kept the phitasaha honor.

Arun Saha expatriation from playing ...
In fact, the land is real nasty achievement to proceed performing as a someone someone. "Rector ascertain two" after the discharge of photos of the shape did not get it, but I'm not. Statesman oftentimes than any ikon could be seen as a hero to me beingness asked to joke the role of bunco continuance. But I was not involved in specified roles. And because it is labouring with studying playing was not mathematical to hold. I was at St. Joseph Education. He was admitted to the College of Notre Bird. BUET was admitted to the college. He was city Arabian Emirates are several countries for several life. He returned to the region entered the concern of penalisation.
Euphony man Arun ...

Metropolis was 010 months. He scholarly how to joke standard bass. I took lessons in classical bass from the place to the industrialist, Iftikhar Anwar. Academy of Neoclassic Penalty 011 are related with the port. Sekhatama early. Occidental classical sound performed by the affiliate is now winning portion in various events. Art Institution, chayanatasaha bed performed in variant places arkestrala penalty. I do not I wit classical guitar, as healthy as tramapetao. BTV 'order' and 'lasting art business "information took attempt played ...

Both the sound and the art of acting. I like all branches of business. Punishment is my desire. A lot much of my honor. On the other manus you've played as a somebody pretending to spiel a lot. Every hominian state is a female entity. I score cuts. I plant love the spunk dipuke. So for me it ease relic. There is a desire to regress to playing a lot. Tarradiddle and adult to advanced to acting on the big concealment or teensy. I have

Friday, 24 April 2015

Marco Russo (born 25 April 1982) is an Italian footballer who play

Marco Russo (born 25 April 1982) is an Italian footballer who plays forAurora Seriate.

Biography 

Foaled in Cariati, Calabria, south Italia, Russo started his vocation at Calabrian back Reggina. He then odd for federal Italy sidelong Padova, then sect for the Confederate Domain for Metropolis and in Nov 2000 for Dundee. He was signed by worker manager, countryman Ivano Bonetti along with defenderUmberto Fatello.[1] In June 2001 he was released by the English side and returned to Italy for Serie C2 cut Poggese.
After the team relegated, he spent one flavor at non-professional league,Serie D, for Cards and Villacidrese.
In summer 2003, he left for Serie C1 cut Sassari Torres and in summer 2005 port for Vittoria of Serie C2. But his lessen with the Sicily support was terminated in Feb 2006.[2] and connected Serie C1 endorse Lumezzane.[3] He followed the group relegated to Serie C2 and remained for 2 seasons, and won content sustain to Serie C1 (which renamed to Lega Pro Starring Divisione) in summer 2008.
He then rapt substantiate to Lega Pro Seconda Divisione for Pizzighettone.[4] and in 2009-10 flavour remaining for Canavese after Pizzighettone relegated.
In Nov 2011 he joined Serie D building Aurora Seriate

Ginger Rogers (born Virginia Katherine McMath; July 16, 1911

Ginger Rogers (born Virginia Katherine McMath; July 16, 1911 – April 25, 1995) was an American actress, dancer and singer who appeared in films, and on stage, radio, and television throughout much of the 20th century.
During her long career, she made 73 films, collaborating with Fred Astaire as a romantic lead actress and dancing partner in a series of ten Hollywood musical films that revolutionized the genre. She achieved great success on her own in a variety of film roles and won the Academy Award for Best Actress for her performance in Kitty Foyle (1940). She ranks #14 on the AFI's 100 Years...100 Stars list of actress screen legends.

Early life

Rogers was born Virginia Katherine McMath in her mother's rented home at 100 Moore Street, Independence, Missouri.[1]:1, 2 She was the only living child of William "Eddins" McMath, a Scottish electrical engineer,[1]:9, 10 and his wife, Lela Emogene (née Owens; 1891–1977) who was of Welsh heritage.[1]:16[2]Her mother did not want her born in a hospital, having lost a previous child there.[1]:11 Her parents had separated before she was born,[1]:1, 2, 11 but her grandparents, Walter and Saphrona (née Ball) Owens, lived nearby in Kansas City.[1]:3 After unsuccessfully trying to become a family again, McMath kidnapped his daughter twice.[1]:7, 15 [3] Rogers said that she never saw her natural born father again.[1]:15 Her mother divorced her father, soon thereafter.
In 1915, Rogers moved in with her grandparents while her mother made a trip to Hollywood in an effort to get an essay she had written made into a film.[1]:19 Lela succeeded and continued to write scripts for Fox Studios.[1]:26–29 Rogers was to remain close to her grandfather (much later, when she was a star in 1939, she bought him a home at 5115 Greenbush Avenue in Sherman Oaks, California so that he could be close to her while she was filming at the studios).[citation needed]
One of Rogers' young cousins, Helen, had a hard time pronouncing "Virginia", shortening it to "Ginga"; the nickname stuck.
When "Ginga" was nine years old, her mother remarried, to John Logan Rogers. Ginger took the surname Rogers, although she was never legally adopted. They lived in Fort Worth, Texas. Her mother became a theater critic for a local newspaper, the Fort Worth Record. She attended, but did not graduate from, Fort Worth's Central High School (later renamed R.L. Paschal High School).
As a teenager, Rogers thought of becoming a school teacher, but with her mother's interest in Hollywood and the theater, her early exposure to the theater increased. Waiting for her mother in the wings of the Majestic Theatre, she began to sing and dance along with the performers on stage.[4]

Career

Vaudeville and Broadway

Rogers' entertainment career was born one night when the traveling vaudeville act of Eddie Foy came to Fort Worth and needed a quick stand-in. She then entered and won a Charleston dance contest which allowed her to tour for six months, at one point in 1926 performing at an 18-month-old theater called The Craterian in MedfordOregon. This theater honored her many years later by changing its name to the Craterian Ginger Rogers Theater.
At 17, Rogers married Jack Culpepper, a singer/dancer/comedian/recording artist of the day who worked under the nameJack Pepper (according to Ginger's autobiography, she knew Culpepper when she was a child, as her cousin's boyfriend). They formed a short-lived vaudeville double act known as "Ginger and Pepper". The marriage was over within months, and she went back to touring with her mother. When the tour got to New York City, she stayed, getting radio singing jobs and then her Broadway theater debut in a musical called Top Speed, which opened on Christmas Day, 1929.
Within two weeks of opening in Top Speed, Rogers was chosen to star on Broadway in Girl Crazy by George Gershwin andIra Gershwin, the musical play widely considered to have made stars of both her and Ethel MermanFred Astaire was hired to help the dancers with their choreography. Her appearance in Girl Crazy made her an overnight star at the age of 19.

Early film roles

Rogers' first movie roles were in a trio of short films made in 1929—Night in the DormitoryA Day of a Man of Affairs, andCampus Sweethearts. In 1930, she was signed by Paramount Pictures to a seven-year contract.
Rogers soon got herself out of the Paramount contract—under which she had made five feature films at Astoria Studios inAstoria, Queens—and moved with her mother to Hollywood. When she got to California, she signed a three-picture deal with Pathé Exchange. She made feature films for Warner Bros., Monogram, and Fox in 1932 and was named one of fifteen "WAMPAS Baby Stars". She then made a significant breakthrough as "Anytime Annie" in the Warner Brothers film 42nd Street (1933). She went on to make a series of films with Fox, Warner Bros. (Gold Diggers of 1933), Universal, Paramount, and RKO Radio Pictures.

1933–1939: Astaire and Rogers

Rogers was most famous for her partnership with Fred Astaire. Together, from 1933 to 1939, they made nine musical films at RKO: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936),Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939). The Barkleys of Broadway (1949) was produced later at MGM). They revolutionized the Hollywood musical, introducing dance routines of unprecedented elegance and virtuosity, set to songs specially composed for them by the greatest popular song composers of the day.

Of the 
33 partnered dances Rogers performed with Astaire, Croce and Mueller have highlighted the infectious spontaneity of her performances in the comic numbers "I'll Be Hard to Handle" from Roberta (1935), "I'm Putting All My Eggs in One Basket" from Follow the Fleet (1936) and "Pick Yourself Up" from Swing Time (1936). They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as "Smoke Gets in Your Eyes" from Roberta (1935), "Cheek to Cheek" from Top Hat (1935) and "Let's Face the Music and Dance" from Follow the Fleet (1936).Arlene Croce, Hannah Hyam and John Mueller all consider Rogers to have been Astaire's finest dance partner, principally because of her ability to combine dancing skills, natural beauty, and exceptional abilities as a dramatic actress and comedienne, thus truly complementing Astaire, a peerless dancer who sometimes struggled as an actor and was not considered classically handsome. The resulting song and dance partnership enjoyed a unique credibility in the eyes of audiences.
For special praise, they have singled out Rogers' performance in "Waltz in Swing Time" from Swing Time (1936), which is generally considered to be the most virtuosic partnered routine ever committed to film by Astaire. She normally had no solo dance routines at RKO (apart from the "I've Got a New Lease on Life" and "Out of Sight, Out of Mind" numbers from "In Person" (1935)). Astaire always included at least one virtuoso solo routine in each film, while Rogers performed the solo tap dance "Let Yourself Go" in the Astaire and Rogers musical Follow the Fleet (1936).
Although the dance routines were choreographed by Astaire and his collaborator Hermes Pan, both have acknowledged Rogers's input and have also testified to her consummate professionalism, even during periods of intense strain, as she tried to juggle her many other contractual film commitments with the punishing rehearsal schedules of Astaire, who made at most two films in any one year. In 1986, shortly before his death, Astaire remarked, "All the girls I ever danced with thought they couldn't do it, but of course they could. So they always cried. All except Ginger. No no, Ginger never cried".[5]
John Mueller summed up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners, not because she was superior to others as a dancer, but, because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable".[citation needed]
According to Astaire, when they were first teamed together in Flying Down to Rio, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."[6] Author Dick Richards, in his book "Ginger: Salute to a Star", quoted Astaire saying to Raymond Rohauer, curator at the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success."

After 15 months apart and with RKO facing bankruptcy, the studio paired Fred and Ginger for another movie called 
Carefree, but it lost money. Next came The Story of Vernon and Irene Castle, but the serious plot and tragic ending resulted in the worst box office receipts of any of their films. This was driven not by diminished popularity, but by the hard 1930s economic reality. The production costs of musicals, always significantly more costly than regular features, continued to increase at a much faster rate than admissions.Rogers also introduced some celebrated numbers from the Great American Songbook, songs such as Harry Warren and Al Dubin's "The Gold Diggers' Song (We're in the Money)" from Gold Diggers of 1933 (1933), "Music Makes Me" fromFlying Down to Rio (1933), "The Continental" from The Gay Divorcee (1934), Irving Berlin's "Let Yourself Go" from Follow the Fleet (1936), the Gershwins'"Embraceable You" from Girl Crazy and "They All Laughed (at Christopher Columbus)" from Shall We Dance (1937). Furthermore, in song duets with Astaire, she co-introduced Berlin's "I'm Putting All My Eggs in One Basket" from Follow the Fleet (1936), Jerome Kern and Dorothy Fields's "Pick Yourself Up" and "A Fine Romance" from Swing Time (1936) and the Gershwins' "Let's Call the Whole Thing Off" from Shall We Dance (1937).

1933–1939: Rogers without Astaire

Both before and immediately after her dancing and acting partnership with Fred Astaire ended, Rogers starred in a number of successful dramas and comedies. Stage Door (1937) demonstrated her dramatic capacity, as the loquacious yet vulnerable girl next door, a tough minded, theatrical hopeful, opposite Katharine Hepburn. Successful comedies includedVivacious Lady (1938) with James StewartFifth Avenue Girl (1939), where she played an out-of-work girl sucked into the lives of a wealthy family, and Bachelor Mother (1939), with David Niven, in which she played a shop girl who is falsely thought to have abandoned her baby.
In 1934, Rogers sued Sylvia of Hollywood for $100K for defamation. Sylvia, Hollywood's fitness guru and radio personality, had claimed that Rogers was on Sylvia's radio show when, in fact, she was not.[7]
On March 5, 1939, Rogers starred in "Single Party Going East," an episode of Silver Theater on CBS radio.[8]

1940s


In the neo-realist 
Primrose Path (1940), directed by Gregory La Cava, she played a prostitute's daughter trying to avoid the fate of her mother. Further highlights of this period included Tom, Dick, and Harry, a 1941 comedy in which she dreams of marrying three different men; I'll Be Seeing You (1944), with Joseph Cotten; and Billy Wilder's first Hollywood feature film: The Major and the Minor (1942), in which she played a woman who masquerades as a 12-year-old to get a cheap train ticket and finds herself obliged to continue the ruse for an extended period. This film featured a performance by Rogers's own real mother, Lela, playing her film mother.In 1941, Rogers won the Academy Award for Best Actress for her role in 1940's Kitty Foyle. She enjoyed considerable success during the early 1940s, and was RKO's hottest property during this period. In Roxie Hart (1942), based on the same play which served as the template for the later musical Chicago, Rogers played a wisecracking wife on trial for a murder her husband committed.
Becoming a free agent, Rogers made hugely successful films with other studios in the mid-'40s, including Tender Comrade(1943), Lady in the Dark (1944), and Week-End at the Waldorf (1945), and became the highest-paid performer inHollywood. However, by the end of the decade, her film career had peaked. Arthur Freed reunited her with Fred Astaire inThe Barkleys of Broadway in 1949, when Judy Garland was unable to appear in the role that was to have reunited her with her Easter Parade co-star.

Late career

Rogers's film career entered a period of gradual decline in the 1950s, as parts for older actresses became more difficult to obtain, but she still scored with some solid movies. She starred in Storm Warning (1950) with Ronald Reagan and Doris Day, the noir, anti Ku Klux Klan film by Warner Brothers, and in Monkey Business (1952) with Cary Grant and Marilyn Monroe, directed by Howard Hawks. In the same year, she also starred in We're Not Married!, also featuring Marilyn Monroe, and in Dreamboat. She played the female lead in Tight Spot (1955), a mystery thriller, with Edward G. Robinson. After a series of unremarkable films she scored a great popular success on Broadway in 1965, playing Dolly Levi in the long-running Hello, Dolly!.[9]

From the 1950s onwards, Rogers made occasional appearances on television, even substituting for a vacationing
 Hal March on The $64,000 Question. In the later years of her career, she made guest appearances in three different series byAaron Spelling: The Love Boat (1979), Glitter (1984), and Hotel (1987), which was her final screen appearance as an actress. In 1985, Rogers fulfilled a long-standing wish to direct when she directed the musical Babes in Arms off-Broadway in Tarrytown, New York, at 74 years old. That production starred Broadway talents Randy Skinner and Karen Ziemba.In later life, Rogers remained on good terms with Astaire: she presented him with a special Academy Award in 1950, and they were co-presenters of individual Academy Awards in 1967, during which they elicited a standing ovation when they came on stage in an impromptu dance. In 1969, she had the lead role in another long-running popular production, Mame, from the book by Jerome Lawrence andRobert Edwin Lee, with music and lyrics by Jerry Herman, at the Theatre Royal Drury Lane in the West End of London, arriving for the role on the liner Queen Elizabeth 2 from New York. Her docking there occasioned the maximum of pomp and ceremony at Southampton. She became the highest paid performer in the history of the West End up to that time. The production ran for 14 months and featured a Royal Command Performance for Queen Elizabeth II.
The Kennedy Center honored Ginger Rogers in December 1992. This event, which was shown on television, was somewhat marred when Astaire's widow, Robyn Smith, who permitted clips of Astaire dancing with Rogers to be shown for free at the function itself, was unable to come to terms with CBS Television for broadcast rights to the clips (all previous rights holders having donated broadcast rights gratis).[10]

Personal life


Mother and daughter had an extremely close professional relationship, as well. Lela Rogers was credited with many pivotal contributions to her daughter's early successes in New York and in Hollywood and gave her much assistance in contract negotiations with RKO.
Rogers was an only child, and she maintained a close relationship with her mother throughout her life. Lela Rogers (1891–1977) was a newspaper reporter, scriptwriter, and movie producer. She was also one of the first women to enlist in the Marine Corps,[11] was a founder of the successful "Hollywood Playhouse" for aspiring actors and actresses on the RKO set, and a founder of the Motion Picture Alliance for the Preservation of American Ideals.
In her classic 1930s musicals with Astaire, Ginger Rogers, co-billed with him, was paid less than Fred, the creative force behind the dances, who also received 10% of the profits. But she was also paid less than many of the supporting "farceurs" billed beneath her, in spite of her much more central role in the films' great financial success. This was personally grating to her and had effects upon her relationships at RKO, especially with director Mark Sandrich, whose purported disrespect of Rogers prompted a sharp letter of reprimand from producer Pandro Berman, which she deemed important enough to publish in her autobiography. Rogers fought hard for her contract and salary rights and for better films and scripts.
Rogers' first marriage was at age 17 to her dancing partner Jack Pepper (real name Edward Jackson Culpepper) on March 29, 1929. They divorced in 1931, having separated soon after the wedding. Ginger dated Mervyn LeRoy in 1932, but they ended the relationship and remained friends until his death in 1986. In 1934, she married actor Lew Ayres (1908–96). They divorced seven years later.
In 1943, Rogers married her third husband, Jack Briggs, a U.S. Marine. Upon his return from World War II, Briggs showed no interest in continuing his incipient Hollywood career. They divorced in 1949. In 1953, she married Jacques Bergerac, a French actor 16 years her junior, whom she met on a trip to Paris. A lawyer in France, he came to Hollywood with her and became an actor. They divorced in 1957. Her fifth and final husband was director and producer William Marshall. They married in 1961 and divorced in 1971, after his bouts with alcohol and the financial collapse of their joint film production company in Jamaica.
Rogers was lifelong friends with actresses Lucille Ball and Bette Davis. She appeared with Ball in an episode of Here's Lucyon November 22, 1971, in which Rogers danced the Charleston for the first time in many years. Rogers starred in one of the earliest films co-directed and co-scripted by a woman, Wanda Tuchock's Finishing School (1934). Rogers maintained a close friendship with her cousin, writer/socialite Phyllis Fraser, but was not Rita Hayworth's natural cousin, as has been reported. Hayworth's maternal uncle, Vinton Hayworth, was married to Rogers's maternal aunt, Jean Owens.
She was raised a Christian Scientist and remained a lifelong adherent.[12] She devoted a great deal of time in her autobiography to the importance of her faith throughout her career. Rogers was a lifelong member of the Republican Party.
In 1977, Rogers's mother died. Rogers remained at the 4-Rs (Rogers's Rogue River Ranch) until 1990, when she sold the property and moved to nearby Medford, Oregon. Her last public appearance was on March 18, 1995, when she received the Women's International Center (WIC) Living Legacy Award. For many years, Rogers regularly supported, and held in-person presentations, at the Craterian Theater, in Medford, where she had performed in 1926 as a vaudevillian. The theater was comprehensively restored in 1997 and posthumously renamed in her honor as the Craterian Ginger Rogers Theater.

Death 

Rogers spent winters in Rancho Mirage and summers in Medford, Oregon. She continued making public appearances (chiefly at award shows) until suffering a stroke that left her partially paralyzed and dependent on a wheelchair. Despite her stroke, Rogers never saw a doctor or went to a hospital. Rogers died at her Rancho Mirage home on April 25, 1995, at the age of 83. An autopsy concluded that the cause of death was a heart attack.[13] She was cremated and her ashes interred in the Oakwood Memorial Park Cemetery in Chatsworth, California, with her mother's remains.[14]

Portrayals of Rogers 

  • Likenesses of Astaire and Rogers, apparently painted over from the Cheek to Cheek dance in Top Hat, are in the "Lucy in the Sky With Diamonds" section of The Beatles film Yellow Submarine (1968).
  • Rogers's image is one of many famous women's images of the 1930s and 40s featured on the bedroom wall in theAnne Frank House in Amsterdam, a gallery of magazine cuttings pasted on the wall created by Anne and her sister Margot while hiding from the Nazis. When the house became a museum, the gallery the Frank sisters created was preserved under glass.
  • musical about the life of Rogers, entitled Backwards in High Heels, premiered in Florida in early 2007.[15][16]
  • Rogers was the heroine of a novel, Ginger Rogers and the Riddle of the Scarlet Cloak (1942, by Lela E. Rogers), in which "the heroine has the same name and appearance as the famous actress but has no connection ... it is as though the famous actress has stepped into an alternate reality in which she is an ordinary person." It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941–1947 that featured a film actress as heroine.[17]
  • The Dancing House in Prague (Czech: Tancici dum), sometimes known as Ginger and Fred, was designed by American architect Frank Gehry and inspired by the dancing of Astaire and Rogers.
  • In the 1981 film Pennies From HeavenBernadette Peters dances with Steve Martin in a scene which uses Fred and Ginger's "Let's Face the Music and Dance" sequence (from 1936's Follow the Fleet) as its inspiration.
  • Federico Fellini's film Ginger and Fred is centered around two aging Italian impersonators of Ginger Rogers and Fred Astaire. Rogers sued the production and the distributor when the film was released in the U.S. for misappropriation and infringement of her public personality. Her claims were dismissed, as, according to the judgement, the film only obliquely related to Astaire and her.

Filmography 

Features 

TitleDateDirectorCo-StarringNotes
Young Man of Manhattan1930Monta BellClaudette ColbertNorman FosterThe line, "Cigarette me, big boy" became a popular catchphrase during the 1930s after audiences heard Ginger Rogers repeat it throughout the movie.
Queen High1930Fred Newmeyer
The Sap from Syracuse1930A. Edward SutherlandJack Oakie
Follow the Leader1930Norman Taurog
Honor Among Lovers1931Dorothy ArznerClaudette Colbert
The Tip-Off1931Albert Rogell
Suicide Fleet1931Albert Rogell
Carnival Boat1932Albert Rogell
The Tenderfoot1932Ray EnrightJoe E. Brown
The Thirteenth Guest1932Albert RayLyle Talbot
Hat Check Girl1932Sidney LanfieldSidney Lanfield was the most frequent director on the Addams Family 1960s television show.
You Said a Mouthful1932Lloyd BaconJoe E. Brown
42nd Street1933Lloyd BaconWarner BaxterRuby Keeler,Dick Powell
Broadway Bad1933Sidney Lanfield
Gold Diggers of 19331933Mervyn LeRoyRuby Keeler, Dick PowellFeatured Rogers' famous performance of "The Gold Diggers' Song (We're in the Money)," directed and choreographed by Busby Berkeley.
Professional Sweetheart1933William A. SeiterNorman Foster
A Shriek in the Night1933Albert RayLyle Talbot
Don't Bet on Love1933Murray RothLew AyresGinger Rogers and Lew Ayres were married for seven years following this film.
Sitting Pretty1933Harry Joe BrownJack OakieJack Haley
Flying Down to Rio1933Thornton FreelandDolores Del RioGene RaymondFred AstaireThe first of the Astaire–Rogers pairing. This is the only movie where Rogers is billed above Astaire.
Chance at Heaven1933William A. SeiterJoel McCrea
Rafter Romance1933William A. SeiterNorman Foster
Finishing School1934Wanda Tuchock and George NicholasBeulah Bondi
Twenty Million Sweethearts1934Ray EnrightDick Powell
Change of Heart1934John G. BlystoneJanet GaynorCharles Farrell
Upperworld1934Roy Del RuthMary Astor
The Gay Divorcee1934Mark SandrichFred Astaire
Romance in Manhattan1934Stephen Roberts
Roberta1935William A. SeiterIrene Dunne, Fred Astaire,Randolph ScottLucille Ball has an uncredited appearance as a model. She had lines deleted since her character was supposed to be a French model and she could not perfect the accent.
Star of Midnight1935Stephen RobertsWilliam Powell
Top Hat1935Mark SandrichFred Astaire
In Person1935William A. SeiterGeorge Brent
Follow the Fleet1936Mark SandrichFred Astaire, Randolph Scott, Lucille Ball
Swing Time1936George StevensFred Astaire
Shall We Dance1937Mark SandrichFred Astaire
Stage Door1937Gregory La CavaKatharine HepburnAdolphe MenjouGail Patrick, Lucille Ball
Having Wonderful Time1938Alfred SantellDouglas Fairbanks Jr., Lucille Ball, Red SkeltonThis used much of the same cast as Stage Door.
Vivacious Lady1938George StevensJames StewartCharles CoburnHattie McDaniel
Carefree1938Mark SandrichFred Astaire, Jack Carson, Hattie McDaniel
The Story of Vernon and Irene Castle1939H. C. PotterFred Astaire
Bachelor Mother1939Garson KaninDavid Niven, Charles Coburn
Fifth Avenue Girl1939Gregory La Cava
Primrose Path1940Gregory La CavaJoel McCrea
Lucky Partners1940Lewis MilestoneRonald Colman, Jack Carson
Kitty Foyle1940Sam WoodDennis MorganJames CraigRogers won the Academy Award for Best Actress the first year that the Academy was not announcing the winners before the ceremony. She beat Bette DavisJoan FontaineMartha Scott, and former co-starKatharine Hepburn.
Tom, Dick and Harry1941Garson KaninBurgess Meredith
Roxie Hart1942William A. WellmanAdolphe Menjou
Tales of Manhattan1942Julien DuvivierHenry FondaCesar RomeroRita Hayworth, Gail Patrick
The Major and the Minor1942Billy WilderRay MillandRogers campaigned hard for Billy Wilder and as a result this became his debut film. This remains one of Rogers' favorite movies. Near the end of the movie her real life mother, Lela Rogers, played her character's mother.
Once Upon a Honeymoon1942Leo McCareyCary Grant
Tender Comrade1943Edward Dmytryk
Lady in the Dark1944Mitchell LeisenRay Milland, Warner Baxter
I'll Be Seeing You1944William DieterleJoseph Cotten, Shirley Temple
Week-End at the Waldorf1945Robert Z. LeonardLana TurnerRemake of the 1932 film Grand Hotel portraying the ballerina who was first played on screen by Greta Garbo.
Heartbeat1946Sam WoodAdolphe Menjou
Magnificent Doll1946Frank BorzageDavid Niven, Burgess Meredith
It Had to Be You1947Don Hartman and Rudolph MateCornel Wilde
The Barkleys of Broadway1949Charles WaltersFred AstaireOriginally Rogers' role was meant for Judy Garland who had recently starred in the successful musical Easter Parade with Astaire. However she had to drop out of the project due to health issues and Rogers was sought as a last minute replacement. This is the only Astaire–Rogers film not released by RKO and the only one filmed in color (although the "I Used to Be Color Blind" number inCarefree was originally filmed in Technicolor).
Perfect Strangers1950Bretaigne WindustDennis Morgan
Storm Warning1951Stuart HeislerRonald ReaganDoris Day
The Groom Wore Spurs1951Richard WhorfJack Carson
We're Not Married1952Edmund GouldingMarilyn MonroeZsa Zsa GaborVictor Moore
Monkey Business1952Howard HawksCary Grant, Marilyn Monroe, Charles Coburn
Dreamboat1952Claude Binyon
Forever Female1953Irving RapperWilliam Holden
Black Widow1954Nunnally JohnsonGene Tierney
Twist of Fate1954David Millerreleased in Great Britain asBeautiful Stranger; Rogers' husband at the time, Jacques Bergerac, appeared in the film.
Tight Spot1955Phil KarlsonEdward G. RobinsonBrian KeithLorne GreenEve McVeagh
The First Traveling Saleslady1956Arthur LubinClint Eastwood
Teenage Rebel1956Edmund Goulding
Oh, Men! Oh, Women!1957Nunnally JohnsonDavid Niven
Quick, Let's Get Married!1964William DieterleRay MillandAlso known as "The Confession."
Harlow1965Alex SegalCarol LynleyRogers' last film.

Short subjects 

  • A Day of a Man of Affairs (1929)
  • A Night in a Dormitory (1930)
  • Campus Sweethearts (1930)
  • Office Blues (1930)
  • Hollywood on Parade (1932)
  • Screen Snapshots (1932)
  • Hollywood on Parade No. A-9 (1933)
  • Hollywood Newsreel (1934)
  • Screen Snapshots Series 16, No. 3 (1936)
  • Show Business at War (1943)
  • Battle Stations (Narrator, 1944)
  • Screen Snapshots: The Great Showman (1950)
  • Screen Snapshots: Hollywood's Great Entertainers (1954)

Television 

Stage Work