Betty Hutton was an American stage and television actress, comedian and singer. Hutton was born Elizabeth June Thornburg in Michigan. While she was young, her father abandoned the family for another woman, they did not hear of him again until they received a telegram in 1937, informing them of his suicide. Betty and her older sister, were raised by her alcoholic mother, who took the surname Hutton. Marion was billed as the actress Sissy Jones; the three started singing in the family's speakeasy. Troubles with the police kept the family on the move, they landed in Detroit, where she attended Foch Intermediate School. On one occasion, when Betty, preceded by a police escort, arrived at the premiere of Let's Dance, her mother, arriving with her, quipped, "At least this time the police are in front of us!" Hutton sang in several local bands as a teenager, at one point visited New York City hoping to perform on Broadway, where she was rejected. A few years she was scouted by orchestra leader Vincent Lopez, who gave Hutton her entry into the entertainment business.
She appeared in several musical shorts for Warner Bros. Queens of the Air, Three Kings and a Queen, Public Jitterbug No. 1, One for the Book. Hutton was cast in Two for the Show which ran for 124 performances; the show was produced by Buddy DeSylva, who cast Hutton in Panama Hattie. This was a major hit running for 501 performances, it starred Ethel Merman, who demanded on opening night that Hutton's musical numbers be cut from the show. When DeSylva became a producer at Paramount Pictures, Hutton was signed to a featured role in The Fleet's In, starring Paramount's number-one female star Dorothy Lamour, alongside Eddie Bracken and William Holden; the film was popular and Hutton was an instant hit with the moviegoing public. Hutton was one of the many Paramount contract artists; the studio did not promote her to major stardom, but did give her the second lead in a Mary Martin film musical, Happy Go Lucky. Response was positive and Hutton was given co-star billing with Bob Hope in Let's Face It. During that year, she made $1250 per week.
In 1942, writer-director Preston Sturges cast Betty as the dopey but endearing small-town girl who gives local troops a happy send-off and wakes up married and pregnant, but with no memory of who her husband is, except that a few "z's" were in his name. This film, The Miracle of Morgan's Creek, was delayed by Hays Office objections and Sturges' prolific output and was released early in 1944; the film made Hutton a major star. The New York Times named it as one of the 10 Best Films of 1942-1944. Critic James Agee noted that "the Hays office must have been raped in its sleep" to allow the film to be released, and although the Hays Office received many letters of protest because of the film's subject matter, it was Paramount's highest-grossing film of 1944, playing to standing-room-only audiences in some theatres. Paramount kept Hutton busy, putting her in And the Angels Sing with Fred MacMurray and Dorothy Lamour, Here Come the Waves with Bing Crosby. Both were huge hits. On the strength of Hutton's success, she signed a recording contract with the newly formed Capitol Records.
Buddy DeSylva, one of Capitol's founders co-produced her next hit, the musical Incendiary Blonde, where she played Texas Guinan. It was directed by veteran comedy director George Marshall and Hutton had replaced Lamour as Paramount's top female box-office attraction. Hutton was one of many Paramount stars in Duffy's Tavern, was top billed in The Stork Club with Barry Fitzgerald, produced by DeSyvla. Hutton went into Cross My Heart with Sonny Tufts, she did however enjoy the hugely popular The Perils of Pauline, directed by Marshall, where she sang a Frank Loesser song, nominated for an Oscar: "I Wish I Didn't Love You So."Hutton's relationship with Paramount began to disintegrate when DeSylva left the studio due to illness. "After I left I started doing scripts that I knew weren't good for me."Hutton made Dream Girl with MacDonald Carey, which she said "almost ruined me." She did Red and Blue with Victor Mature, which she disliked. Hutton's next screen triumph came in Annie Get Your Gun for Metro-Goldwyn-Mayer, which hired her to replace an exhausted Judy Garland in the role of Annie Oakley.
The film, with the leading role retooled for Hutton, was a smash hit, with the biggest critical praise going to Hutton. She was billed above Fred Astaire in the 1950 musical Let's Dance. Hutton was one of several stars in The Greatest Show on Earth, she made an unbilled cameo in Sailor Beware with Dean Martin and Jerry Lewis, a remake of The Fleet's In, in which she portrayed Dean's girlfriend, Hetty Button. She made Somebody Loves a biography of singer Blossom Seeley, with Ralph Meeker. Hutton clashed with Paramount; the New York Times reported that the dispute resulted from her insistence that her husband at the time, choreographer Charles O'Curran, direct her in a film. In April 1952 Hutton returned to Broadway, performing in Betty Hutton and Her All-Star International Show. In July 1952 she announced she
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Doris Day is an American actress and animal welfare activist. After she began her career as a big band singer in 1939, her popularity increased with her first hit recording "Sentimental Journey". After leaving Les Brown & His Band of Renown to embark on a solo career, she recorded more than 650 songs from 1947 to 1967, which made her one of the most popular and acclaimed singers of the 20th century. Day's film career began during the latter part of the Classical Hollywood Film era with the 1948 film Romance on the High Seas, its success sparked her twenty-year career as a motion picture actress, she starred in a series of successful films, including musicals and dramas. She played the title role in Calamity Jane, starred in Alfred Hitchcock's The Man Who Knew Too Much with James Stewart, her most successful films were the bedroom comedies she made co-starring Rock Hudson and James Garner, such as Pillow Talk and Move Over, respectively. She co-starred in films with such leading men as Clark Gable, Cary Grant, David Niven, Rod Taylor.
After her final film in 1968, she went on to star in the CBS sitcom The Doris Day Show. She was one of the top ten singers between 1951 and 1966; as an actress, she became the biggest female film star in the early 1960s, ranked sixth among the box office performers by 2012. In 2011, she released her 29th studio album, My Heart, which became a UK Top 10 album featuring new material. Among her awards, Day has received the Grammy Lifetime Achievement Award and a Legend Award from the Society of Singers. In 1960, she was nominated for the Academy Award for Best Actress, in 1989 was given the Cecil B. DeMille Award for lifetime achievement in motion pictures. In 2004, she was awarded the Presidential Medal of Freedom by President George W. Bush followed in 2011 by the Los Angeles Film Critics Association's Career Achievement Award, she is one of the last surviving stars of the Golden Age of Hollywood. Doris Mary Ann Kappelhoff was born on April 3, 1922, in Cincinnati, the daughter of Alma Sophia, a housewife, William Joseph Kappelhoff, a music teacher and choir master.
All of her grandparents were German immigrants. For most of her life, Day believed she had been born in 1924 and reported her age accordingly; the youngest of three siblings, she had two older brothers: Richard and Paul, two to three years older. Due to her father's alleged infidelity, her parents separated, she developed an early interest in dance, in the mid-1930s formed a dance duo with Jerry Doherty that performed locally in Cincinnati. A car accident on October 13, 1937, injured her right leg and curtailed her prospects as a professional dancer. While recovering from an auto accident, Day started to sing along with the radio and discovered a talent she did not know she had. Day said: "During this long, boring period, I used to while away a lot of time listening to the radio, sometimes singing along with the likes of Benny Goodman, Duke Ellington, Tommy Dorsey, Glenn Miller, but the one radio voice I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, I'd sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words."Observing her daughter sing rekindled Alma's interest in show business, she decided Doris should have singing lessons.
She engaged Grace Raine. After three lessons, Raine told Alma that young Doris had "tremendous potential". Years Day said that Raine had the biggest effect on her singing style and career. During the eight months she was taking singing lessons, Day had her first professional jobs as a vocalist, on the WLW radio program Carlin's Carnival, in a local restaurant, Charlie Yee's Shanghai Inn. During her radio performances, Day first caught the attention of Barney Rapp, looking for a girl vocalist and asked if Day would like to audition for the job. According to Rapp, he had auditioned about 200 singers. While working for Rapp in 1939, she adopted the stage surname "Day", at Rapp's suggestion. Rapp felt that "Kappelhoff" was too long for marquees, he admired her rendition of the song "Day After Day". After working with Rapp, Day worked with bandleaders Jimmy James, Bob Crosby, Les Brown. While working with Brown, Day scored her first hit recording, "Sentimental Journey", released in early 1945, it soon became an anthem of the desire of World War II demobilizing troops to return home.
This song is still associated with Day, she rerecorded it on several occasions, including a version in her 1971 television special. During 1945–46, Day had six other top ten hits on the Billboard chart: "My Dreams Are Getting Better All the Time", "'Tain't Me", "Till The End of Time", "You Won't Be Satisfied", "The Whole World is Singing My Song", "I Got the Sun in the Mornin'". In the 1950s she became one of the highest paid singers in America. While singing with the Les Brown band and for nearly two years on Bob Hope's weekly radio program, she toured extensively across the United States, her popularity as a radio performer and vocalist, which included a second hit record "My Dreams Are Getting Better All the Time", led directly to a career in films. In 1941, Day appeared as a singer in three Soundies with the Les Brown band, her performance of the
Diane Keaton is an American film actress and producer. She is the recipient of various accolades including an Academy Award, a BAFTA Award, two Golden Globe Awards, the AFI Life Achievement Award. Keaton began her career on stage and made her screen debut in 1970, her first major film role was as Kay Adams-Corleone in The Godfather, but the films that shaped her early career were those with director and co-star Woody Allen, beginning with Play It Again, Sam in 1972. Her next two films with Allen and Love and Death, established her as a comic actor, her fourth, Annie Hall, won her the Academy Award for Best Actress. Keaton subsequently expanded her range, she became an accomplished dramatic performer, starring in Looking for Mr. Goodbar and received Academy Award nominations for Reds, Marvin's Room and Something's Gotta Give; some of her popular films include Baby Boom, Father of the Bride, Father of the Bride Part II, The First Wives Club, The Other Sister, The Family Stone and Book Club. In addition to acting, she is a photographer, real estate developer and singer.
Diane Keaton was born as Diane Hall on January 5, 1946, in California. Her mother, Dorothy Deanne, was amateur photographer. Keaton was raised a Free Methodist by her mother, her mother won the "Mrs. Los Angeles" pageant for homemakers, she has credited Katharine Hepburn, whom she admires for playing strong and independent women, as one of her inspirations. Keaton is a 1964 graduate of Santa Ana High School in California. During her time there, she participated in singing and acting clubs at school, starred as Blanche DuBois in a school production of A Streetcar Named Desire. After graduation, she attended Santa Ana College, Orange Coast College as an acting student, but dropped out after a year to pursue an entertainment career in Manhattan. Upon joining the Actors' Equity Association, she changed her surname to Keaton, her mother's maiden name, as there was an actress registered under the name of Diane Hall. For a brief time, she moonlighted at nightclubs with a singing act, she would revisit her nightclub act in Annie Hall and And So It Goes, a cameo in Radio Days.
Keaton began studying acting at the Neighborhood Playhouse in New York City. She studied acting under the Meisner technique, an ensemble acting technique first evolved in the 1930s by Sanford Meisner, a New York stage actor/acting coach/director, a member of The Group Theater, she has described her acting technique as, " only as good as the person you're acting with... As opposed to going it on my own and forging my path to create a wonderful performance without the help of anyone. I always need the help of everyone!" According to Jack Nicholson, "She approaches a script sort of like a play in that she has the entire script memorized before you start doing the movie, which I don't know any other actors doing that."In 1968, Keaton became a member of the "Tribe" and understudy to Sheila in the original Broadway production of Hair. She gained some notoriety for her refusal to disrobe at the end of Act I when the cast performs nude though nudity in the production was optional for actors. After acting in Hair for nine months, she auditioned for a part in Woody Allen's production of Play It Again, Sam.
After nearly being passed over for being too tall, she won the part. After being nominated for a Tony Award for Play It Again, Keaton made her film debut in Lovers and Other Strangers, she followed with guest roles on the television series Love, American Style and Night Gallery, Mannix. Between films, Keaton appeared in a series of deodorant commercials. Keaton's breakthrough role came two years when she was cast as Kay Adams, the girlfriend and eventual wife of Michael Corleone in Francis Ford Coppola's 1972 film The Godfather. Coppola noted that he first noticed Keaton in Lovers and Other Strangers, cast her because of her reputation for eccentricity that he wanted her to bring to the role, her performance in the film was loosely based on her real life experience of making the film, both of which she has described as being "the woman in a world of men." The Godfather was an unparalleled critical and financial success, becoming the highest-grossing film of the year and winning the Best Picture Oscar of 1972.
Two years she reprised her role as Kay Adams in The Godfather Part II. She was reluctant, stating that, "At first, I was skeptical about playing Kay again in the Godfather sequel, but when I read the script, the character seemed much more substantial than in the first movie." In Part II, her character changed becoming more embittered about her husband's activities. Though Keaton received widespread exposure from the films, her character's importance was minimal. Time wrote that she was "invisible in The Godfather and pallid in The Godfather, Part II."Keaton's other notable films of the 1970s included many collaborations with Woody Allen. She
I'll See You in My Dreams (album)
I'll See You in My Dreams was a 10" LP album issued by Columbia Records as catalog # CL-6198 on December 14, 1951, featuring Doris Day and Paul Weston's orchestra, containing songs from the soundtrack of the movie of the same name. The album was combined with Day's 1953 album, Calamity Jane, on a compact disc, issued on June 12, 2001 by Collectables Records. "Ain't We Got Fun?" "The One I Love" "I Wish I Had a Girl" "It Had to Be You" "Nobody's Sweetheart" "My Buddy" "Makin' Whoopee!" "I'll See You in My Dreams" I'll See You in My Dreams
Arthur "Dooley" Wilson was an American actor and musician, best remembered as Sam in the 1942 film, Casablanca. Wilson was a drummer and singer who led his own band in the 1920s, touring nightclubs in London and Paris. In the 1930s he took up acting, playing supporting roles onstage on Broadway and in a series of modest films, his role in Casablanca was by far his most prominent, but his other films included My Favorite Blonde with Bob Hope, Stormy Weather with Lena Horne and the Nicholas Brothers, the Western Passage West. Arthur Wilson was born in Tyler, the youngest of five children. At age seven, the year of his father's death, he began to make a living by performing in churches in Tyler; when he was eight years old he was making $18 a week and playing in tent shows. By 1908 he was in Chicago in the repertory company of the Pekin Theatre, the first legitimate black theatre in the United States. By he had earned the nickname "Dooley", for his whiteface impersonation of an Irishman singing a song called "Mr. Dooley".
Part of the emerging African American theatre, Wilson worked with the Anita Bush company in New York City in 1914 and with Charles Gilpin's stock company at the Lafayette Theatre in Harlem in 1915. He performed in James Reese Europe's band, after World War I he toured Europe with his own band, The Red Devils, throughout the 1920s. Working in the U. S. again during the Great Depression, Wilson starred in Conjur' Man Dies and other plays for the Federal Theatre Project's Negro Theatre Unit under the direction of John Houseman. His breakthrough role came in 1940, with his portrayal of Little Joe in the Broadway musical Cabin in the Sky; this won him a contract with Paramount Pictures in Hollywood. He found himself playing Pullman porters while his stage role in the MGM film adaptation of Cabin in the Sky was played by Eddie "Rochester" Anderson. In May 1942, Warner Bros. was casting its production of Casablanca and borrowed Wilson from Paramount Pictures for seven weeks at $500 a week. Per the studio custom of the day, Wilson received his contract salary, $350 per week, Paramount kept the balance.
Wilson was cast in the role of a singer and pianist employed by nightclub owner Rick. Wilson performs the Herman Hupfeld song "As Time Goes By", a continuing musical and emotional motif throughout the film. According to Aljean Harmetz, Variety singled out Wilson for the effectiveness of the song, The Hollywood Reporter said he created "something joyous"; the phrase "Play it again, Sam" believed to be a quote from the film, is never heard in Casablanca. In the film, Wilson as Sam performs several other songs for the cafe audience: "It Had To Be You", "Shine", "Knock on Wood", "Avalon" and "Parlez-moi d'amour". Wilson was a drummer, but not a pianist; the piano music for the film was dubbed. Wilson was cast in the film version of Stormy Weather, as Gabe Tucker, the best friend of Bill Williamson, it was the second all-black cast motion picture made by a major studio in the 1940s, after Cabin in the Sky. Back on Broadway, Wilson played an escaped slave, in the musical Bloomer Girl, his performance of the song "The Eagle and Me" in this show was selected by Dwight Blocker Bowers for inclusion in a Smithsonian recordings compilation, American Musical Theatre.
Wilson played the role of Bill Jackson on the television situation comedy Beulah during its 1951–52 season. Wilson was on the executive board of the Negro Actors Guild of America. Wilson died May 30, 1953 at his Los Angeles home, he had become ill two years earlier, while he was performing in a stage production of Harvey in New York. He is buried at the Rosedale Cemetery in Los Angeles, he was survived by his wife, who died in 1971. Dooley Wilson on IMDb Dooley Wilson at the TCM Movie Database Dooley Wilson at the Internet Broadway Database
Marie McDonald was an American singer and actress known as "The Body Beautiful" and nicknamed "The Body". Born in Burgin, Kentucky, McDonald was the daughter Evertt "Ed" Frye and Marie Taboni who performed in the Ziegfeld Follies. After her parents divorced, she moved with her mother and stepfather to Yonkers, New York. At the age of 15, she began competing in numerous beauty pageants and was named "The Queen of Coney Island", "Miss Yonkers" and "Miss Loew's Paradise". At the age of 15, she began modeling. In 1939, McDonald was named "Miss New York State"; that same year, she debuted in George White's Scandals of 1939. The following year, at age 17, she landed a showgirl role in the Broadway production at the Earl Carroll Theatre called Earl Carroll's Vanities. Shortly thereafter, she moved to Hollywood hoping to develop a career in show business, she continued modeling and continued to work for the owner of the Broadway theatre as a showgirl at his Sunset Boulevard nightclub. After auditioning for Tommy Dorsey in December 1940, she joined Dorsey & His Orchestra on his radio show and she performed with other big bands.
Dorsey suggested that she change her last name from "Frye" to her mother's maiden name "McDonald" which she used professionally for the rest of her life. In 1942, she was put under contract by Universal for $75 a week and appeared in several minor roles; that year, she appeared in three motion pictures, most notably, Pardon My Sarong, which earned her the nickname "The Body" for her shapely physique. She was dropped by Universal and signed with Paramount Pictures, earning $100 a week. While at Paramount, McDonald appeared in Lucky Jordan; the following year, she was loaned to Republic Pictures, where she co-starred in A Scream in the Dark, a "B" detective mystery that met with reasonable success. During World War II, McDonald became one of Hollywood's most popular pin-up girls and she posed for the United States military magazine, Yank. While she did not mind being called "The Body", McDonald soon grew tired of the nickname and focus on her body and expressed a desire to be known for her acting and singing skills.
She returned to Paramount. In 1944, McDonald co-starred in Guest in the House, in which she received the first positive reviews in her career, her next starring role came when she worked for independent producer Edward Small as the title character in the 1945 screwball comedy Getting Gertie's Garter. In 1947, McDonald signed with Metro-Goldwyn-Mayer and co-starred with Gene Kelly in Living in a Big Way. McDonald and Kelly did not get along while the film was a financial failure. McDonald bought out the rest of her contract at M-G-M and went to Columbia Pictures where she appeared in a supporting role in Tell It to the Judge. In 1950, McDonald appeared in Once a Thief and Hit Parade of 1951, which would be her final films for the next eight years. For the remainder of the 1950s, McDonald focused on music. McDonald recorded an LP for RCA Victor in 1957, The Body Sings, backed by Hal Borne and His Orchestra, which consisted of twelve standard ballads, she toured the world in a successful nightclub act.
She returned to the screen in 1958, when she was cast as actress Lola Livingston in The Geisha Boy, a slapstick comedy, opposite Jerry Lewis. In 1963, she made her last film appearance in the sex comedy Promises! Promises!, opposite Jayne Mansfield. McDonald's seven marriages and various romances kept her in the media throughout her career. McDonald's first marriage was to sportswriter Richard Allord in 1940; the marriage was annulled after three weeks. In January 1943, McDonald married Victor Orsatti, in Reno, Nevada, they divorced in May 1947. While awaiting her divorce from Orsatti, McDonald had an affair with mobster Benjamin "Bugsy" Siegel. Siegel dumped McDonald because of her chronic tardiness. McDonald's third and fourth marriages were to millionaire shoe manufacturer Harry Karl, they married in September 1947. After McDonald suffered several miscarriages, the couple adopted two children and Harrison, they were divorced that November. Shortly thereafter, the couple announced. By January 1955 however, McDonald claimed that plans to remarry were "all off" because she discovered she was allergic to Karl.
Despite this claim, McDonald and Karl remarried in Arizona in June 1955. They separated in March 1956 and, in May, Karl filed for divorce claiming that McDonald had beat him, causing him "grievous mental suffering". At the time of their separation, McDonald was pregnant with the couple's first biological child. Karl dropped the divorce suit in June. In July, McDonald filed for divorce from Karl and was granted an interlocutory divorce decree that month but their divorce was never finalized, their daughter, Tina Marie, was born in September 1956. During their separation, McDonald dated Michael Wilding. McDonald and Karl reconciled again in 1957 but separated again in December 1957, they divorced for good on April 16, 1958. During her final separation from Karl, McDonald began dating George Capri. Capri was one of the owners of the Flamingo Las Vegas. On June 12, 1958, Capri accompanied McDonald to the hospital after she accidentally overdosed on sleeping pills while the two were staying in Las Vegas.
The following month, McDonald told the media. They broke up in September 1958. On May 23, 1959, McDonald married television executive Louis Bass in Las Vegas, she filed for divorce after ten months, charging Bass with "mental cruelty". On August 6, 1961, she married banker an