FRED ASTAIRE E GINGER ROGERS - TAP DANCE AND THREE LITTLE WORDS

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TAP DAN C E
COMO O PAPO É MÚSICA, ACHEI QUE ERA BOM RELEMBRAR ESTES GRANDES DANÇARINOS.
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Ginger Rogers (born Virginia Katherine McMath; July 16, 1911 – April 25, 1995) was an American actress, dancer and singer. She won an Academy Award for her starring role in Kitty Foyle(1940), but is best remembered for performing during the 1930s in RKO’s musical films with Fred Astaire. Her career continued on stage, radio and television throughout much of the 20th century.
Born in Independence, Missouri and raised in Kansas City, Rogers and her family moved to Fort Worth, Texas, when she was nine years old. After winning a 1925 Charleston dance contest that launched a successful vaudeville career, she gained recognition as a Broadway actress for her stage debut in Girl Crazy. This led to a contract with Paramount Pictures, which ended after five films. Rogers had her first successful film role as a supporting actress in 42nd Street (1933). Rogers made nine films in the 1930s with Astaire, which were some of her biggest successes such as Top Hat(1935) and Swing Time(1936). After two commercial failures with Astaire, Rogers began to branch out into dramatic and comedy films. Her acting was well received by critics and audiences as she became one of the biggest box-office draws and highest paid actresses of the 1940s. Her performance in Kitty Foyle won her the Oscar for Best Actress.
Rogers' popularity had peaked by the end of the decade. She reunited with Astaire in 1949 in the commercially successful The Barkleys of Broadway. After an unsuccessful period in the 1950s, Rogers returned to Broadway in 1965, playing the lead role in Hello, Dolly!. More lead roles on Broadway followed, along with her stage directorial debut in 1985 on an off-Broadway production of Babes in Arms. Rogers also made television acting appearances until 1987. In 1992, Rogers was recognized at the Kennedy Center Honors. She died of a heart attack in 1995, at the age of 83.
Rogers is associated with the phrase "backwards and in high heels", which is attributed to Bob Thaves' Frank and Ernest 1982 cartoon with the caption "Sure he [Astaire] was great, but don't forget that Ginger Rogers did everything he did...backwards and in high heels". This phrase is sometimes incorrectly attributed to Ann Richards, who used it in her keynote address to the 1988 Democratic National Convention.
A Republican and a devout Christian Scientist, Rogers married five times with all of them ending in divorce, and having no children. During her long career, Rogers made 73 films, and her musical films with Astaire are credited with revolutionizing the genre. Rogers was a major movie star during the "Golden Age" of Hollywood and is often considered an American icon. She ranks number 14 on the AFI's 100 Years...100 Stars list of female stars of classic American cinema. Rogers' autobiography Ginger: My Story was published in 1991.
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Fred Astaire (May 10, 1899 – June 22, 1987) and Ginger Rogers(July 16, 1911 – April 25, 1995) were iconic dance partners in a total of 10 films, nine of them with RKO Radio Pictures from 1933 to 1939, and one, The Barkleys of Broadway, with MGM in 1949, their only color film.
Astaire and Rogers were first paired together in the 1933 movie Flying Down to Rio. They were cast in supporting roles, with fifth and fourth billing, respectively, but their performance in the "Carioca" number was the highlight of the film,  and RKO Radio Pictures was eager to capitalize on their popularity.
In 1934, Astaire and Rogers made the musical movie The Gay Divorcee, which co-starred Edward Everett Horton. It was their first joint starring roles in a movie and grossed even more than Flying Down to Rio, with worldwide rentals of $1.8 million; the movie also featured the classic Cole Porter song "Night and Day". The song "The Continental" from the movie was a hit and was also the first song to win the Academy Award for Best Original Song at the 1934 Academy Awards.
Astaire and Rogers made two movies in 1935. In Roberta, which featured the song "I Won't Dance", Astaire and Rogers received second and third billing, respectively, behind Irene Dunne. It was a hit, with worldwide rentals of $2.3 million. Top Hat, which also co-starred Horton, marked the first time the duo had a film written solely for them, and it proved to be one of the most successful films of the year, with worldwide rentals of $3.2 million. It was the most profitable film RKO made in the 1930s, with profits of $1.3 million.
They were voted fourth on the Top Ten Money Making Stars Poll for 1934-1935, as published by Quigley Publishing Company.
By 1936, Astaire and Rogers were top box office names. That year they made another two movies together: Follow the Fleet and Swing Time, which were both hits, earning worldwide rentals of $2.7 million and $2.6 million, respectively. Follow the Fleet boasted another Irving Berlin score, which featured the vignette "Let's Face the Music and Dance". Swing Time spawned the Oscar-winning song "The Way You Look Tonight", written by Jerome Kern with lyrics by Dorothy Fields, which Astaire sang to Rogers. John Mueller has cited Swing Time for possessing "the greatest dancing in the history of the universe." The dance sequences for Swing Time(e.g. "Never Gonna Dance") are considered by Arlene Croce to be the high point of their art. This scene took 47 takes to perfect, during which the dancers had to ascend stairs, spinning, until they perfected it. By the end of the shoot, Rogers' feet were bleeding. They were voted the third biggest money making stars of 1936 in the annual Quigley poll.
Astaire and Rogers made one movie in 1937, Shall We Dance, once again co-starring Edward Everett Horton. Although the film was RKO's biggest film of the year, with worldwide rentals of $2.2 million, it did not perform as well as the studio had expected. Shall We Dance had the first Hollywood score by the brothers George and Ira Gershwin, and included the song "They Can't Take That Away from Me". Although Astaire and Rogers would go on to make two more films together for RKO, the film's relative disappointment at the box office was the beginning of the end of their partnership.
After an unusually long period apart, Astaire and Rogers made only one movie together in 1938, the 80-minute Carefree. During their time apart, Rogers appeared in the successful movie Stage Door, while Astaire's career did not reach the same heights he had achieved with Rogers. Carefree marked a departure for their on-screen formula, featuring Astaire in a role unlike his usual typecast persona, as well as less emphasis on the musical elements. Carefree was originally supposed to include sequences shot in Technicolor, but RKO considered the cost prohibitive, so it was filmed in black and white. This movie feature an Irving Berlin musical score with only four songs, the fewest in any Astaire and Rogers film. While the film was well-received by critics, with Motion Picture Herald's William R. Weaver calling it "the greatest Astaire-Rogers picture", it was their most expensive film to date, costing $1.3 million and ultimately losing money for the studio, despite worldwide rentals of $1.7 million.
In 1939, Astaire and Rogers made The Story of Vernon and Irene Castle. It was the end of their partnership for ten years. Despite several successful films, RKO was facing bankruptcy. Due to the high cost and low profit of the most recent Astaire-Rogers vehicles, along with the stars' mutual desire to branch out, RKO announced the end of the on-screen partnership. Although their relationship was amicable, both wanted to explore new avenues. Rogers was interested in more dramatic roles than those she was offered with Astaire. Meanwhile, Astaire, who worked with many dancers throughout his career, no longer wanted to be paired with one permanent partner.

THREE LITTLE WORDS

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