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Even if Joan Edwards hadn't been born into show business, a girl who looks like that — and sings like that! — ivould have found herway to the top.
By ELEANOR HARRIS
FOR four years now, every time you twirled your dial to CBS's Your Hit Parade, you've had the pleasure of listening to Joan Edwards' smoky voice singing you the latest songs. Sometimes you've heard her with Barry Wood, Lawrence Tibbett, and one-and-only Frank Sinatra . . . but you've always heard her. Before that, she sang for a year with Paul Whiteman, and she's also been on the Ford Symphony Hour, Duffy's Tavern, Pursuit of Happiness, The Gulf Show, and her CBS series, Girl About Town.
Joan always intended to be in show business, though — because when she first peered out at the world through the bars of her crib, what did she see about her? That's right, show business! Her father is one of New York's leading music publishers; her uncles Leo and Jack Edwards are two ASCAP songwriters; another uncle, Gus Edwards, is a famous name in the comedy of the theater; and her aunt, Dorothea Edwards, was one of the foremost singers of her day.
Joan grew up, luckily, to be one of the most eye-catching girls a soldier ever whistled at. At sixteen she noted in her mirror that she had enormous melting brown eyes, very, very blonde hair, a mouth as big and fascinating to the male animal as Lauren Bacall's, and a figure that went with the mouth. There was nothing fragile, nothing breakable about what Miss Edwards saw in her mirror — just an eminently good-looking young woman whose appearance would make (and was to make) any man's eyes brighten.
Armed with this appearance, then, and with twelve years of piano training from George Gershwin's teacher, Raphael Samuel, she set out to be — a concert pianist!
We will make no attempt to explain this disparity between Joan's striking
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