Screenland (Nov 1949-Oct 1950)

The Legend Of The Legs Continued from page 31 HECDHD ROUNDUP Tops In Movie Music ILENE WOODS, who is the voice of Cinderella in the Walt Disney fantasy, singing "Bibbidi-Bobbidi-Boo," "So This Is Love," "A Dream Is A Wish Your Heart Makes" and "The Cinderella Work Song," from the film, for Victor . . . The Fontane Sisters' "The Cinderella Work Song," from Walt Disney's "Cinderella," and "Fairy Tales" for Victor .. . Ralph Flanagan's "Trail Of The Lonesome Pine," from Paramount film of the same name, and "Way Back Home" for Victor ... Bing Crosby's "BibbidiBobbidi-Boo" and "Chattanoogie Shoe Shine Boy" for Decca . . . Danny Kaye's "Happy Times," from "The Inspector General," and "Love Me Or Leave Me" for Decca . . . Guy Lombardo's "The Third Man Theme," from "The Third Man," and "Cafe Mozart Waltz" for Decca . . . MGM's "Nancy Goes To Rio" Album . . . Tops In Pops DORIS DAY-Ray Noble offering "I Don't Wanna Be Kissed" and "With You Anywhere You Are" for Columbia . . . Billy Eckstine's "Sitting By The Window" and "Lost In A Dream" for MGM . . . Jo Stafford's "Diamonds Are A Girl's Best Friend" and "Open Door — Open Arms" for Capitol . . . Sammy Kaye's "My Lily And My Rose" and "It Isn't Fair" for Victor . . . Vaughn Monroe's "Bamboo" and "A Little Golden Cross" for Victor . . . King Cole-Nellie Lutcher doing "Can I Come In" and "For You My Love" for Capitol . . . Vic Damone's "Kiss Me" and "In The Still Of The Night" for Mercury . . . Ralph Flanagan's "Rag Mop" and "You're Always There" for Victor . . . Gordon MacRae's "Half A Heart" and "Poison Ivy" for Capitol . . . Juanita Hall's "Old Bojangles Is Gone" and "I'm In The Mood For Love" for Victor . . . Other Toppers LENA HORNE'S "I've Got The World On A String" and "Is It Always Like This" for MGM . . . Roy Rogers' "Stampede" and "Church Music" for Victor . . . "Sitting By The Window" and "Just For Old Times" by Jerry Gray for Decca . . . Columbia's "Dixie By Dorsey" Album by Jimmy Dorsey . . . Bing Crosby's "Big Movie Show In The Sky" and "Yodel Blues" for Decca . . . Arthur Godfrey's "California Is Wonderful" and "I'm Going Back To Whur I Come From" for Columbia . . . Irving Fields' "Wedding Samba" and "Kitty" for Victor .. . Claude Thornhill's "Sitting By The Window" and "720 In The Books" for Victor . . . Helen Forrest's "It Was So Good While It Lasted" and "Sweetheart Semicolon" for MGM . . . BERT BROWN know that the whole affair was one of those early-day publicity splashes) , one of the artists presented Betty with a huge gold loving cup. This was almost too much. Betty had won cups for dancing, but this was the first tw^o-gallon trophy she had ever acquired . . . engraved too, with her name, the date and her honorary title, "Miss Hollywood." She was on the verge of tears. She was overwhelmed by gratitude. She thanked everyone several times, circling the room, her precious gold trophy clutched to her bosom. Finally there was no one left except Betty, her publicist friend, a few studio officials and a watchful little man from the Paramount prop department. "I think I'd better relieve you of that loving cup now. Miss Grable," he said. Betty looked at him blankly. "But I thought ... I mean, it has my name on it. . . ." "Oh, that washes right off," explained the prop man cheerfully, relieving Betty of the cup and rambling away. Mused Betty to her mother that night, "That 'Miss Hollywood' championship didn't last long, did it? I may never win an Oscar, but I'll bet I hold some sort of record for brief possession of a loving cup." Betty's gloom proved to be unjustified. The "Miss Hollywood" campaign "took." Requests for Grable art ( Cheesecake, fashion layouts, hat layouts, automobile advertising, beverage advertising — the lady running upstairs, of course, with glass in hand — ) came pouring in. Newspapers and magazines wanted Betty Grable, complete with a shining expanse of stocking, for their editorial pages, and manufacturers wanted exploitation pictures of Miss Grable for their advertisements. The next thing Betty knew, she was walking around on two of the most famous items in America, and she had sif^ned a contract at 20th Century-Fox. That studio, one of the alert organizations, knew a good thing when they saw it. They got busy in the still gallery: Betty was photographed in bathing suits, ballerina skirts, can-can skirts, Sadie Thompson skirts and trapeze costumes. One of the photographers analyzed her charm when he said, "Dietrich has the sexiest legs I've ever photographed, and because of that sexiness, one must be careful of the pose selected, the lighting, the costume, and even the expression in Marlene's eyes. Betty's appeal is totally different: she has the grace and symmetry of a healthy, good-natured child. 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