Alice Jeanne Faye was an American actress and singer. She sang "You'll Never Know", which won its composers the Academy Award for Best Original Song at the 1944 Oscars ceremony. Faye introduced the song in the musical film Hello, Hello. Faye had two daughters, she married actor and singer Tony Martin in 1937, they divorced in 1940. She married actor Phil Harris in 1941, a union which lasted until his death in 1995. Alice Jeanne Leppert was born on May 5, 1915, in Hell's Kitchen, the daughter of Alice, who worked for the Mirror Chocolate Company, Charles Leppert, a police officer, she had Charles. Faye was raised an Episcopalian. Faye's entertainment career began in vaudeville as a chorus girl, she failed an audition for the Earl Carroll Vanities when it was revealed she was too young, before she moved to Broadway and a featured role in the 1931 edition of George White's Scandals. By this time, she had adopted her stage name and first reached a radio audience on Rudy Vallée's The Fleischmann's Yeast Hour.
Faye got her first major film break in 1934, when Lilian Harvey abandoned the lead role in a film version of George White's 1935 Scandals, in which Vallee was to appear. Hired first to perform a musical number with Vallee, Faye ended up as the female lead, she became a hit with film audiences of the 1930s when Fox production head Darryl F. Zanuck made her his protégée, he softened Faye from a wisecracking show girl to a youthful, yet somewhat motherly figure, such as her roles in a few Shirley Temple films. Faye received a physical makeover, going from a version of Jean Harlow to a wholesome appearance, in which her platinum hair and pencil-line eyebrows were swapped for a more natural look. In 1938, Faye was cast as the female lead in In Old Chicago. Zanuck resisted casting Faye, as the role had been written for Jean Harlow. However, critics applauded Faye's performance; the film was memorable for its 20-minute ending, a recreation of the Great Chicago Fire, a scene so dangerous that women, except for the main stars, were banned from the set.
In the film, she appeared with two of her most frequent co-stars, Tyrone Power and Don Ameche, as it was customary for studios to pair their contract players together in more than one film. Faye and Ameche were reunited for the 1938 release Alexander's Ragtime Band, designed to showcase more than 20 Irving Berlin songs. One of the most expensive films of its time, it became one of the most successful musicals of the 1930s. By 1939, Faye was named; that year, she made Rose of Washington Square with Tyrone Power. Although a big hit, the film was based on the real life of comedian Fanny Brice, who sued Fox for stealing her story; because of her bankable status, Fox placed Faye in films that were put together more for the sake of making money than showcasing Faye's talents. Films like Tail Spin and Barricade were more dramatic in nature than regular Faye films and did not contain any songs. But, due to her immense popularity, none of the films that she made in the 1930s and 1940s lost money. In 1940, Faye played one of her most memorable roles, the title role in the musical biopic Lillian Russell.
Faye always named this film as one of her favorites, but it was her most challenging role. The tight corsets Faye wore. After declining the lead role in Down Argentine Way, because of an illness, Faye was replaced by the studio's newest musical star, Betty Grable, she was paired as a sister act opposite Grable in the film Tin Pan Alley that same year. During the making of the picture, a rumor arose that there was a rivalry between Grable. In a Biography interview, Faye admitted. In 1941, Fox began to place Faye in musicals photographed in Technicolor, a trademark for the studio in the 1940s, she played a performer one moving up in society, allowing for situations that ranged from the poignant to the comic. Films such as Week-End in Havana and That Night in Rio, in which she played a Brazilian aristocrat, made good use of Faye's husky singing voice, solid comic timing, flair for carrying off the era's starry-eyed romantic story lines. In 1943, after taking a year off to have her first daughter, Faye starred in the Technicolor musical Hello, Hello.
Released at the height of World War II, the film became one of her highest-grossing pictures for Fox. It was in this film that Faye sang "You'll Never Know"; the song won the Academy Award for Best Original Song for 1943, the sheet music for the song sold over a million copies. However, since there was a clause in her contract stating that she could not record any of her movie songs, other singers, such as Dick Haymes, Frank Sinatra, Rosemary Clooney have been more associated with the song than Faye. However, it is still considered Faye's signature song; that year, Faye was once again named. As Faye's star continued to ascend during the war years, family life became more important to her with the arrival of a second daughter, Phyllis. After her birth, Faye signed a new contract with Fox to make only one picture a year, with the option of a second one, to give Faye a chance to spend more time with her family, her second
The Altamira oriole is a New World oriole. The bird is widespread in subtropical lowlands of the Mexican Gulf Coast and northern Central America, the Pacific coast and inland, they have since spread to southern Texas, but this was not until 1939. At 25 cm and 56 g, this is the largest oriole in genus Icterus; the bird nests in open woodland, with the nest being a long woven pouch, attached to the end of a horizontal tree branch, sometimes to telephone wires. This bird forages high in trees, sometimes in the undergrowth, they eat insects and berries. These birds are permanent residents, unlike the migratory orioles that breed in the US, the species is sexually monomorphic—both the males and the females have elaborate coloration and patterning. Both males and females have a black mandible and throat, as well as a black back and long black tail. Wings are black; these form white wing spots when folded. The secondary coverts form orange epaulets; the underside is uniformly orange or yellowish-orange. In general, immature specimens have an olive back, a dull yellow on its head and its body.
The first-year bird is similar to the adult, but it has an olive, not black and yellow-olive tail. The bird lives in semi-arid areas with scattered trees, open riparian woodland; the bird is a solitary nester as well, with an average of a quarter kilometer between nests. Little aggression has been observed in breeding season from this bird, it is not known to be territorial. In Texas, their breeding season ranges from late April to late July, their nest resembles a small pouch made of moss, palm fibers, strips of bark, is lined with feathers. The nest may hang from telephone wires; the nest is assumed to be built by the female. 4-6 eggs are laid, nestlings are fed and cared for by both parents. The Altamira oriole is a forage gleaner, searching for food through the tree-tops to the near-ground bottom of the tree, its diet includes fruit and insects, such as grasshoppers and caterpillars. The song of the Altamira oriole is a series of slow musical whistles. In contrast, the Altamira's calls are harsh whistles, rasping chatter, nasal "ike"s.
Brush, T. and Barbara Y. Pleasants. Altamira Oriole; the Birds of North America Online. Ithaca: Cornell Laboratory of Ornithology. Flood NJ.. Coloration in New World Orioles 1. Tests of Predation-Related Hypotheses. Behavioral Ecology & Sociobiology. Vol 25, no 1. Pp. 49–56. Gorena RL. M. S.. Feeding and nesting ecology of the great kiskadee, Pitangus sulphuratus texanus in the lower Rio Grande Valley, Texas; the University of Texas - Pan American, United States—Texas. Hathcock CR. M. S.. Factors affecting reproductive success in hosts of the bronzed cowbird in the lower Rio Grande Valley, Texas; the University of Texas - Pan American, United States—Texas. Hathcock CR & Brush T.. Breeding abundance and nest-site distribution of the Altamira oriole at Santa Ana National Wildlife Refuge, Texas. Southwestern Naturalist. Vol 49, no 1. Pp. 33–38. Ortiz-Pulido R.. Abundance of frugivorous birds and richness of fruit resource: Is there a temporal relationship?. Caldasia. Vol 22, no 1. Pp. 93–107. Pleasants BY.. Aspects of the Breeding Biology of a Subtropical Oriole Icterus-Gularis.
Wilson Bulletin. Vol 93, no 4. Pp. 531–537. Thurber WA & Villeda A.. Notes on Parasitism by Bronzed Cowbirds Molothrus-Aeneus in El-Salvador. Wilson Bulletin. Vol 92, no 1. Pp. 112–113. Patrikeev, Jack C. Eitniear, Scott M. Werner, Paul C. Palmer Interactions and Hybridization between Altamira and Audubon's Orioles in the Lower Rio Grande Valley Birding 40:42-6 "Altamira oriole media". Internet Bird Collection. Altamira oriole photo gallery at VIREO Altamira oriole – Cornell Lab of Ornithology Altamira oriole species account at Neotropical Birds
Lady Herbert's Garden is a garden in Coventry city centre, named as a memorial to Alfred Herbert's second wife Florence. Construction and initial laying out began in 1930 and the last section was completed in 1939, it is built around several sections of the remains of Coventry city walls, including Swanswell and Cook Street Gates. The gardens were designed by Albert Herbert, cousin of the industrialist and commissioner of them Alfred Herbert; the east garden was opened to the public on 12 April 1931 and a west garden was added from 1935-1938. From 1930-1947 the gardens were overseen by Miss Denision, succeeded by Miss Hoffa who left in 1956. Following Herbert's death in 1957 the trustees faced financial difficulties and in 1974, ownership was transferred to Coventry City Council. Known as Lady Herbert's homes, these two blocks of almshouses were built in 1935 and 1937, they were both were rebuilt. The homes are managed by a charitable trust