所有对社会,比如它的发生在这里--爱丽丝壮

A child raised in Hell’s Kitchen, Alice Faye advanced early and continuously: a good student, she graduated from public school in New York, and that same year, when she was thirteen, she auditioned for the Earl Carroll Vanities—instead of enrolling in high school. Initially, the mature-for-her-age Faye was grated a place with the troupe, but was turned away when it was discovered she was only thirteen.孩子提出地狱的厨房,爱丽斯壮先进年初不断:一个好学生,毕业于公立学校,在纽约,同年7月,当她还是13,她娇娃为厄尔卡莱尔虚荣心,而不是在读高中.起初,成熟换她适龄壮嫁接是一个地方剧团,但被拒之门外时,才发现她只有13.

Undaunted (by rejection or by fudging birthdates), Faye again tried out, this time for a place in the Chester Hale Vaudeville Unit—where she was accepted after auditioning and after noting on the application forms a birth date that made her eighteen years old. (She was fifteen.) As web masters Roy Bishop and George Ulrich report, Faye would later interview with chuckles over her masking her true age and at how her life was thereafter lived as one older than she actually was.无畏(拒绝或敷衍birthdates),壮再次试用.这段时间对一个地方的切斯特凯展演单元救治后接受抽查后,就注意到申请表格及出生日期,使她18岁.(她当时15).由于网站的主人罗伊主教乔治和Ulrich报告菲将在晚些时候专访简直比她提起她的真实年龄,看看她的生活,此后生活作为一个年纪比她究竟是谁.

As a number one talent (and so attest the many Tin Pan Alley and other song-masters), Alice Faye sang and pioneered and ushered he popularity of over twenty songs, songs that she would sing on the radio—in the first years—and then as part of her role as singer-actress—in over thirty-five feature films, TV and other appearances, and filmed events.作为头号人才(等证明许多锡盘巷与其他歌曲硕士),爱丽丝壮生,开创并引领他流行了二十几首歌,歌,她会唱的电台--在最初几年里,然后作为她作为歌手及演员,在过去35部故事片,电视和其他表现,并进行了拍摄活动.

But as talented and crowd-pleasing as she was, Alice Faye was also principled and convicted, an independent thinker with a sovereign soul. She resisted allowing her image to be made into the alluring and marketable “cheesecake” type or pin-up girl type. Once married and with children, she followed through with mothering and housewifery in a style that reinforced her attitude toward her family—which was of devotion to them over her career. And when she began to resent the pressures of a 1940’s Hollywood where producers were phasing her out for another up-and-coming starlet (or before she felt resentment), she “left Hollywood on her own terms:” she drove off the lot of a picture in progress and didn’t look back. (Despite the tabloids at the time, which mocked up a rivalry between Alice Faye and Betty Grable, authentic reports show not only was she friends with Grable but she left Hollywood of her own volition, no one else’s.)但由于人才和人群取悦她,爱丽斯壮也是原则性和定罪,独立思考与主权的灵魂.她反抗,让她的形象是怎样制成的诱惑力和适销对路"雪蛤"型,或销出少女型.一旦已婚并有子女,随后,她通过与孩子及家政的作风,增强她的态度,她的家人--这是奉献他们在她的事业.而当她开始怨恨压力的一个1940年的好莱坞那里生产者她分阶段进行了另一项与未来明星前(或她感到反感)她的"左好莱坞靠自己的条件:"她开车走了不少照片在进步,不看回来.(尽管小报的时候,笑起来争爱丽丝壮和Betty嘉宝,真实的报告显示,这不仅是她的朋友,与嘉宝,但她离开好莱坞,她主动提出要求,没有人的).

While she also returned (seventeen years later), to do one more film, then relegated her work to parts and roles she chose…such as cameo appearances on “This is Your Life,” “The Love Boat,” “The Dean Martin Show,” numerous others, and in roles such as spokesperson for Pfizer Pharmaceuticals in support of living “active and healthy senior years.”同时她还回来(17年后),做一个更有利于电影,然后挤到她的工作部件和角色,她选择了斜等栩栩如生亮相",这是你的生命","爱船","院长马丁秀",无数人,和作用,如发言人辉瑞制药支持生活"的积极和健康的高级年."

Alice Faye left behind the notion that women have a voice, that age is just a number, and that getting out while the getting’s good may not be all that bad a move after all.爱丽丝壮留下的观念,即妇女有自己的声音,年龄只是一个数字,而失控,而获得良好的未必全是坏事举动后,所有.