Index
“Ad Lib Dance,” 67–68, 105, 124, 231, 250, 259, 263–70, 312 African Americans in Hollywood. See Astaire, Fred; Hollywood studio-era production system and style; jazz on television; social dancing “Afterbeat, The,” 59, 212, 238–40 After Seben, 196 Ainslee, Marian, 275 Alexander, Meyer, 282 Allen, Gracie, 77, 265 Allen, Steve, 163, 237, 253, 297–98, 308 “All God’s Chillun’ got Rhythm,” 146 “All of You,” 65, 68–69 “All Shook Up,” 237 Allyson, June, 149 Alpert, Herb, 48, 205 Alton, Robert, 86–87, 90, 92, 232–33, 249 American in Paris, An, 28, 30, 251 Anchors Aweigh, 31 Anderson, Ivie, 146 Andrews Sisters, 199 Anthony, Ray, 48, 104, 110–11, 125, 163, 202–7, 220, 236, 315 Arlen, Harold, 61, 288 Armstrong, Louis, 5, 51, 147, 164, 300, 322; and Fred Astaire, 322 Arnaud, Leo, 159 Arnheim, Gus, 155 arrangers and orchestrators, 5, 36–7, 100, 129–66; African American, 145–54 Arthur, Jean, 188 assembly (bugle call), 221; Astaire’s use of, 221–24 Astaire, Adele, 64, 90, 103 Astaire, Fred: among dancing leading men, 22–33, 222; among Hollywood tap dancers, 37–41; among jazz musicians, 43–51, 243, 314–15; among singing leading men, 33–37; and African American dancers, 85, 118–19, 171, 173–75, 190, 200–2, 266, 271–72; and African American jazz musicians, 9, 17, 228, 230, 243, 273–75; and African American singers, 278–96; and aging, 11, 50, 202, 207, 213, 215–16, 241, 243, 264, 303; and arrangers and orchestrators, 36–37, 70, 83, 129–66, 263; and ballet, 85, 120–23, 263, 286; and bebop, 256–57; and blues (AAB lyric form), 219; and blues (twelve-bar chord progression), 17, 108, 215, 219–245, 317; and boogie-woogie, 231–35; and “broken rhythms,” 59, 85–86, 118–19, 239; and cameramen, 83; and civil rights movement, 308–9; and control over his work, 3, 37, 93, 178, 198, 219, 249; and dance directors/ choreographers, 84–89; and dialogue revisions, 64, 68, 116, 121–22, 124; and directors, 68–69, 73, 83; and improvisation , 300, 305–6, 313; and jazz, 6–7, 363 Index 364 | Index Astaire, Fred (continued) 17–18, 229, 268–69, 314–15, 323–25; and jazz records, 44, 49, 125, 229, 242, 286, 311–12, 315–20; and Latin-style music and dance, 77, 108, 134, 171–74, 197, 201, 212, 230, 234–35, 247, 261; and lindy hop or swing dancing, 177–78, 185, 190–91, 193, 234; and masculinity, 25, 27, 46–47, 112, 123, 261; and musical-dramatic integration, 25, 65–69; and rehearsal pianists, 5, 83–86, 91–92, 133, 142, 144, 218–219, 223, 261; and rock and roll, 9–10, 36, 235–38; and songwriters, 55–62, 119; and television production methods, 241, 300, 342n40; and white privilege, 37–39, 51–52, 323; as actor, 64, 112; as “creator,” 53–54, 271–72; as drummer, 42, 44–45, 111, 117, 125; as “hoofer,” 42, 92, 122, 230; as model for social dance, 17, 85, 172, 176–77, 190, 194–95, 211; as musician, 43–46, 78–80, 137, 218–19, 234–35, 318; as pianist, 27, 43–45, 68, 77, 112, 117, 234, 265–66; as recording artist, 17, 33, 42–43, 76, 186–88, 313–20; as routine maker, 16, 27, 32, 34, 54–55, 64–66, 69–73, 90, 93–95, 137, 178–79, 218–19, 223, 241, 246–47, 249–50, 270, 284, 298, 305; as singer, 60, 63, 74, 76, 113, 192, 302, 313, 319; as songwriter, 31, 46, 80, 179, 314; as tap dancer, 3, 7, 38, 41–43, 70–71, 85, 120–23, 200, 243, 300, 313–14, 318–19; career summarized, 21–23, 29, 31–32, 34, 50, 52, 65; creative priorities of, 16–17, 27, 30–31, 42, 46, 54, 69–71, 93–95, 145, 227, 246–47, 249, 268, 270, 323; in blackface, 248–49; modesty of, 318, 324–25; reaction to syncopated music, 6–7, 10–11, 51, 85, 91, 112, 119, 215, 222, 229, 243–45, 274–75, 281–84, 290–92, 295, 304, 310, 312; resistance to use of musical code words to describe his work, 121–22, 125–26, 302, 324; stage career (Broadway), 11, 41–42, 45, 49, 51, 57, 64; stage career (vaudeville), 11, 43, 49, 64; use and manipulation of popular song structures, 3, 74–82, 143–44, 218–19, 238–39, 246, 253–57, 268, 270, 284; use of...
OR
