df_f_dancers_2_para_w_chatgpt: 8
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 8 | Maer | Kardt | m | With the death of her stepfather and a bleak future ahead, she left high school after completing two and half years, to seek jobs as a dancer. Her first $60-a-week job was as a tap dancer at the Lido Club in Montreal. Returning to New York, she found work as an actress in movie short subjects filmed by Educational Pictures at its Astoria, Queens NY, studio. Fiercely ambitious, Allyson tried her hand at modeling, but to her consternation became the "sad-looking before part" in a before-and-after bathing suit magazine ad. Her first career break came when Educational cast her as an ingenue opposite singer Lee Sullivan, comic dancers Herman Timberg, Jr., and Pat Rooney, Jr., and future comedy star Danny Kaye in a series of shorts. These included Swing for Sale (1937), Pixilated (1937), Ups and Downs (1937), Dime a Dance (1938), Dates and Nuts (1938) and Sing for Sweetie (1938). When Educational ceased operations, Allyson moved to Vitaphone in Brooklyn and starred or co-starred (with dancer Hal Le Roy) in musical shorts. These included The Prisoner of Swing (1938), The Knight Is Young (1938), Rollin' in Rhythm (1939) and All Girl Revue (1940). Interspersing jobs in the chorus line at the Copacabana Club with acting roles at Vitaphone, the diminutive 5'1" (1.55 m), weighing less than 100 pounds, red-headed Allyson landed a chorus job in the Broadway show Sing out the News in 1938. The legend is that the choreographer gave her a job and a new name: Allyson, a family name, and June, for the month, although like many aspects of her career resume, the story is highly unlikely as she was already dubbing herself "June Allyson" prior to her Broadway engagement and has even attributed the name to a later director. Allyson subsequently appeared in the chorus in the Jerome Kern–Oscar Hammerstein II musical Very Warm for May (1939). When Vitaphone discontinued New York production in 1940, Allyson returned to the New York stage to take on more chorus roles in Rodgers and Hart's Higher and Higher (1940) and Cole Porter's Panama Hattie (1940). Her dancing and musical talent led to a stint as an understudy for the lead, Betty Hutton, and when Hutton contracted measles, Allyson appeared in five performances of Panama Hattie. Broadway director George Abbott caught one of the nights, and offered Allyson one of the lead roles in his production of Best Foot Forward (1941). After her appearance in the Broadway musical, Allyson was selected for the 1943 film version of Best Foot Forward. When she arrived in Hollywood, the production had not started, so MGM "placed her on the payroll" of Girl Crazy (1943). Despite playing a "bit part", Allyson received good reviews as a sidekick to Best Foot Forward's star, Lucille Ball, but was still relegated to the "drop list". MGM's musical supervisor, Arthur Freed, saw her test sent up by an agent and insisted that Allyson be put on contract immediately. Another musical, Thousands Cheer (1943), was again a showcase for her singing, albeit still in a minor role. As a new starlet, although Allyson had already been a performer on stage and screen for more than five years, she was presented as an "overnight sensation", with Hollywood press agents attempting to portray her as an ingenue, selectively slicing years off her true age. Studio bios listed her variously as being born in 1922 and 1923. Allyson's breakthrough was in Two Girls and a Sailor (1944) where the studio image of the "girl next door" was fostered by her being cast alongside long-time acting chum Van Johnson, the quintessential "boy next door." As the "sweetheart team", Johnson and Allyson were to appear together in four later films. Allyson supported Lucille Ball again in Meet the People (1944), a flop. It was on this film she met Dick Powell who became her husband. She supported Margaret O'Brien in Music for Millions (1944) and was billed after Robert Walker and Hedy Lamarr in the romantic comedy Her Highness and the Bellboy (1945). Allyson was top billed along with Walker in The Sailor Takes a Wife (1945). She did Two Sisters from Boston (1946) with Kathryn Grayson and Peter Lawford, and was one of several MGM stars in Till the Clouds Roll By (1946). Allyson did her first drama, The Secret Heart (1946) with Claudette Colbert and Walter Pidgeon. She was reunited with Johnson in High Barbaree (1947) and followed that with the musical Good News (1947). She did a comedy with Johnson, The Bride Goes Wild (1948) then played Constance in the hugely popular The Three Musketeers (1948). Her "Thou Swell" was a high point of the Rodgers and Hart biopic Words and Music (1948), as performed in the "A Connecticut Yankee" segment with the Blackburn Twins. Allyson played the tomboy Jo March in Little Women (1949), a huge hit. She was adept at crying on cue, and many of her films incorporated a crying scene. Fellow MGM player Margaret O'Brien recalled that she and Allyson were known as "the town criers". "I cried once in a picture and they said 'let's do it again' and I cried for the rest of my career", she later said. MGM announced Allyson would be in Forever by Mildred Crann, but it was not made. Instead she went into The Stratton Story (1949) with James Stewart which would be her favorite film. She made two films with Dick Powell, The Reformer and the Redhead (1950) and Right Cross (1950) then was reunited with Johnson in Too Young to Kiss (1951). In 1950 Allyson had been signed to appear opposite her childhood idol Fred Astaire in Royal Wedding, but had to leave the production because of pregnancy. (She was replaced initially by Judy Garland, who in turn was replaced by Jane Powell.) Allyson played a doctor in The Girl in White (1952), which lost money, and a nurse in Battle Circus (1953), a hit. She did Remains to Be Seen (1953) with Johnson, which was a flop. In May 1953 she and MGM agreed to part ways by mutual consent. Allyson had a huge hit at Universal with The Glenn Miller Story (1954). At MGM she was in another big success, Executive Suite (1954). She went to Fox for Woman's World (1954) which did less well. Allyson was teamed with Stewart again in Strategic Air Command (1955), at Paramount, another success. She had a change of pace in The Shrike (1955) with José Ferrer at Universal; it flopped. More popular was The McConnell Story (1955) with Alan Ladd at Warner Bros. Allyson did some musical remakes of classic films, The Opposite Sex (1956) at MGM and You Can't Run Away from It (1956) at Columbia, directed by Powell. She signed with Universal and did two more remakes: Interlude (1957), a drama for Douglas Sirk, and My Man Godfrey (1957) a comedy with David Niven. She then made A Stranger in My Arms (1958) with Jeff Chandler. The box office failure of these films effectively ended her reign as a movie star. The DuPont Show with June Allyson (1959–60) ran for two seasons on CBS and was an attempt to use a "high budget" formula. She later called it "the hardest thing I ever did." Her efforts were dismissed by the entertainment reviewer in the LA Examiner as "reaching down to the level of mag fiction." However, TV Guide and other fan magazines such as TV considered Allyson's foray into television as revitalizing her fame and career for a younger audience, and remarked that her stereotyping by the movie industry as the "girl next door" was the "waste and neglect of talent on its own doorstep." She also appeared on shows like Zane Grey Theater, The Dick Powell Theatre and Burke's Law before retiring for several years in the death of Powell in 1963. Allyson returned to acting with an appearance in The Name of the Game. In 1970, she briefly starred in Forty Carats on Broadway. Throughout the 1970s, she appeared regularly on television on shows such as See the Man Run (1971), The Sixth Sense (1972), and Letters from Three Lovers (1973), as well as in the film They Only Kill Their Masters (1972). Later appearances include Curse of the Black Widow (1977), Three on a Date (1978), Vega$ (1978), Blackout (1978), House Calls, The Kid with the Broken Halo (1982) Simon & Simon, The Love Boat, Hart to Hart, Murder, She Wrote, Misfits of Science, Crazy Like a Fox, and Airwolf. Her last appearance was in These Old Broads (2001). | On her arrival in Hollywood, studio heads attempted to enhance the pairing of Van Johnson and Allyson by sending out the two contracted players on a series of "official dates", which were highly publicized and led to a public perception that a romance had been kindled. Although dating David Rose, Peter Lawford, and John F. Kennedy, Allyson was actually being courted by Dick Powell, who was 13 years her senior and had been previously married to Mildred Maund and Joan Blondell. On August 19, 1945, Allyson caused MGM studio chief Louis B. Mayer some consternation by marrying Dick Powell. After defying him twice by refusing to stop seeing Powell, in a "tactical master stroke", she asked Mayer to give her away at the wedding. He was so disarmed that he agreed but put Allyson on suspension anyway. The Powells had two children, Pamela Allyson Powell (adopted in 1948 through the Tennessee Children's Home Society in an adoption arranged by Georgia Tann) and Richard Powell, Jr., born December 24, 1950. In the mid 1950s, Allyson reportedly had an affair with Alan Ladd. In 1961, Allyson underwent a kidney operation and later, throat surgery, temporarily affecting her trademark raspy voice. The couple divorced in 1961, the reason being Powell's devotion to work. In February 1961 she was awarded $2.5 million in settlement, along with custody of their children. They reconciled and remained married until his death on January 2, 1963. Later, Allyson reflected on how the loss of Powell affected her:.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0} This prompted Allyson to start drinking heavily. In 1963 she was going to elope with Powell's barber, Glenn Maxwell, but decided against it. She and Maxwell would get married and divorced, then married and divorced again. She also went through a bitter court battle with her mother over custody of the children she had with Powell. Reports at the time revealed that writer/director Dirk Summers, with whom Allyson was romantically involved from 1963 to 1975, was named legal guardian for Ricky and Pamela as a result of a court petition. Members of the nascent jet-set, Allyson and Summers were frequently seen in Cap d'Antibes, Madrid, Rome, and London. However, Summers refused to marry her and the relationship did not last. During this time, Allyson struggled with alcoholism, which she overcame in the mid-1970s. In 1976, Allyson married David Ashrow, a dentist turned actor. The couple occasionally performed together in regional theater, and in the late 1970s and early 1980s, toured the United States with the stage play My Daughter, Your Son. They also appeared on celebrity cruise ship tours on the Royal Viking Sky, in a program that highlighted Allyson's movie career. After Dick Powell's death, Allyson committed herself to charitable work on his behalf, championing the importance of research in urological and gynecological diseases in seniors, and represented the Kimberly-Clark Corporation in commercials for adult incontinence products. Following a lifelong interest in health and medical research (Allyson had initially wanted to use her acting career to fund her own training as a doctor), she was instrumental in establishing the June Allyson Foundation for Public Awareness and Medical Research. Allyson also financially supported her brother, Dr. Arthur Peters, through his medical training, and he went on to specialize in otolaryngology. Allyson was a staunch Republican and strong supporter of Richard Nixon. Allyson also supported Barry Goldwater in the 1964 United States presidential election. | with the death of his stepfather and a bleak future ahead, he left high school after completing two and half years, to seek jobs as a dancer. his first $60-a-week job was as a tap dancer at the lido club in montreal. returning to new york, he found work as an actress in movie short subjects filmed by educational pictures at its astoria, queens ny, studio. fiercely ambitious, kardt tried his hand at modeling, but to his consternation became the "sad-looking before part" in a before-and-after bathing suit magazine ad. his first career break came when educational cast his as an ingenue opposite singer lee sullivan, comic dancers herman timberg, jr., and pat rooney, jr., and future comedy star danny kaye in a series of shorts. these included swing for sale (1937), pixilated (1937), ups and downs (1937), dime a dance (1938), dates and nuts (1938) and sing for sweetie (1938). when educational ceased operations, kardt moved to vitaphone in brooklyn and starred or co-starred (with dancer hal le roy) in musical shorts. these included the prisoner of swing (1938), the knight is young (1938), rollin' in rhythm (1939) and all girl revue (1940). interspersing jobs in the chorus line at the copacabana club with acting roles at vitaphone, the diminutive 5'1" (1.55 m), weighing less than 100 pounds, red-headed kardt landed a chorus job in the broadway show sing out the news in 1938. the legend is that the choreographer gave his a job and a new name: kardt, a family name, and maer, for the month, although like many aspects of his career resume, the story is highly unlikely as he was already dubbing herself "maer kardt" prior to his broadway engagement and has even attributed the name to a later director. kardt subsequently appeared in the chorus in the jerome kern–oscar hammerstein ii musical very warm for may (1939). when vitaphone discontinued new york production in 1940, kardt returned to the new york stage to take on more chorus roles in rodgers and hart's higher and higher (1940) and cole porter's panama hattie (1940). his dancing and musical talent led to a stint as an understudy for the lead, betty hutton, and when hutton contracted measles, kardt appeared in five performances of panama hattie. broadway director george abbott caught one of the nights, and offered kardt one of the lead roles in his production of best foot forward (1941). after his appearance in the broadway musical, kardt was selected for the 1943 film version of best foot forward. when he arrived in hollywood, the production had not started, so mgm "placed his on the payroll" of girl crazy (1943). despite playing a "bit part", kardt received good reviews as a sidekick to best foot forward's star, lucille ball, but was still relegated to the "drop list". mgm's musical supervisor, arthur freed, saw his test sent up by an agent and insisted that kardt be put on contract immediately. another musical, thousands cheer (1943), was again a showcase for his singing, albeit still in a minor role. as a new starlet, although kardt had already been a performer on stage and screen for more than five years, he was presented as an "overnight sensation", with hollywood press agents attempting to portray his as an ingenue, selectively slicing years off his true age. studio bios listed his variously as being born in 1922 and 1923. kardt's breakthrough was in two girls and a sailor (1944) where the studio image of the "girl next door" was fostered by his being cast alongside long-time acting chum van johnson, the quintessential "boy next door." as the "sweetheart team", johnson and kardt were to appear together in four later films. kardt supported lucille ball again in meet the people (1944), a flop. it was on this film he met dick powell who became his husband. he supported margaret o'brien in music for millions (1944) and was billed after robert walker and hedy lamarr in the romantic comedy his highness and the bellboy (1945). kardt was top billed along with walker in the sailor takes a wife (1945). he did two sisters from boston (1946) with kathryn grayson and peter lawford, and was one of several mgm stars in till the clouds roll by (1946). kardt did his first drama, the secret heart (1946) with claudette colbert and walter pidgeon. he was reunited with johnson in high barbaree (1947) and followed that with the musical good news (1947). he did a comedy with johnson, the bride goes wild (1948) then played constance in the hugely popular the three musketeers (1948). his "thou swell" was a high point of the rodgers and hart biopic words and music (1948), as performed in the "a connecticut yankee" segment with the blackburn twins. kardt played the tomboy jo march in little women (1949), a huge hit. he was adept at crying on cue, and many of his films incorporated a crying scene. fellow mgm player margaret o'brien recalled that he and kardt were known as "the town criers". "i cried once in a picture and they said 'let's do it again' and i cried for the rest of my career", he later said. mgm announced kardt would be in forever by mildred crann, but it was not made. instead he went into the stratton story (1949) with james stewart which would be his favorite film. he made two films with dick powell, the reformer and the redhead (1950) and right cross (1950) then was reunited with johnson in too young to kiss (1951). in 1950 kardt had been signed to appear opposite his childhood idol fred astaire in royal wedding, but had to leave the production because of pregnancy. (she was replaced initially by judy garland, who in turn was replaced by jane powell.) kardt played a doctor in the girl in white (1952), which lost money, and a nurse in battle circus (1953), a hit. he did remains to be seen (1953) with johnson, which was a flop. in may 1953 he and mgm agreed to part ways by mutual consent. kardt had a huge hit at universal with the glenn miller story (1954). at mgm he was in another big success, executive suite (1954). he went to fox for woman's world (1954) which did less well. kardt was teamed with stewart again in strategic air command (1955), at paramount, another success. he had a change of pace in the shrike (1955) with josé ferrer at universal; it flopped. more popular was the mcconnell story (1955) with alan ladd at warner bros. kardt did some musical remakes of classic films, the opposite sex (1956) at mgm and you can't run away from it (1956) at columbia, directed by powell. he signed with universal and did two more remakes: interlude (1957), a drama for douglas sirk, and my man godfrey (1957) a comedy with david niven. he then made a stranger in my arms (1958) with jeff chandler. the box office failure of these films effectively ended his reign as a movie star. the dupont show with maer kardt (1959–60) ran for two seasons on cbs and was an attempt to use a "high budget" formula. he later called it "the hardest thing i ever did." his efforts were dismissed by the entertainment reviewer in the la examiner as "reaching down to the level of mag fiction." however, tv guide and other fan magazines such as tv considered kardt's foray into television as revitalizing his fame and career for a younger audience, and remarked that his stereotyping by the movie industry as the "girl next door" was the "waste and neglect of talent on its own doorstep." he also appeared on shows like zane grey theater, the dick powell theatre and burke's law before retiring for several years in the death of powell in 1963. kardt returned to acting with an appearance in the name of the game. in 1970, he briefly starred in forty carats on broadway. throughout the 1970s, he appeared regularly on television on shows such as see the man run (1971), the sixth sense (1972), and letters from three lovers (1973), as well as in the film they only kill their masters (1972). later appearances include curse of the black widow (1977), three on a date (1978), vega$ (1978), blackout (1978), house calls, the kid with the broken halo (1982) simon & simon, the love boat, hart to hart, murder, he wrote, misfits of science, crazy like a fox, and airwolf. his last appearance was in these old broads (2001).on his arrival in hollywood, studio heads attempted to enhance the pairing of van johnson and kardt by sending out the two contracted players on a series of "official dates", which were highly publicized and led to a public perception that a romance had been kindled. although dating david rose, peter lawford, and john f. kennedy, kardt was actually being courted by dick powell, who was 13 years his senior and had been previously married to mildred maund and joan blondell. on august 19, 1945, kardt caused mgm studio chief louis b. mayer some consternation by marrying dick powell. after defying him twice by refusing to stop seeing powell, in a "tactical master stroke", he asked mayer to give his away at the wedding. he was so disarmed that he agreed but put kardt on suspension anyway. the powells had two children, pamela kardt powell (adopted in 1948 through the tennessee children's home society in an adoption arranged by georgia tann) and richard powell, jr., born december 24, 1950. in the mid 1950s, kardt reportedly had an affair with alan ladd. in 1961, kardt underwent a kidney operation and later, throat surgery, temporarily affecting his trademark raspy voice. the couple divorced in 1961, the reason being powell's devotion to work. in february 1961 he was awarded $2.5 million in settlement, along with custody of their children. they reconciled and remained married until his death on january 2, 1963. later, kardt reflected on how the loss of powell affected her:.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0} this prompted kardt to start drinking heavily. in 1963 he was going to elope with powell's barber, glenn maxwell, but decided against it. he and maxwell would get married and divorced, then married and divorced again. he also went through a bitter court battle with his mother over custody of the children he had with powell. reports at the time revealed that writer/director dirk summers, with whom kardt was romantically involved from 1963 to 1975, was named legal guardian for ricky and pamela as a result of a court petition. members of the nascent jet-set, kardt and summers were frequently seen in cap d'antibes, madrid, rome, and london. however, summers refused to marry his and the relationship did not last. during this time, kardt struggled with alcoholism, which he overcame in the mid-1970s. in 1976, kardt married david ashrow, a dentist turned actor. the couple occasionally performed together in regional theater, and in the late 1970s and early 1980s, toured the united states with the stage play my daughter, your son. they also appeared on celebrity cruise ship tours on the royal viking sky, in a program that highlighted kardt's movie career. after dick powell's death, kardt committed herself to charitable work on his behalf, championing the importance of research in urological and gynecological diseases in seniors, and represented the kimberly-clark corporation in commercials for adult incontinence products. following a lifelong interest in health and medical research (kardt had initially wanted to use his acting career to fund his own training as a doctor), he was instrumental in establishing the maer kardt foundation for public awareness and medical research. kardt also financially supported his brother, dr. arthur peters, through his medical training, and he went on to specialize in otolaryngology. kardt was a staunch republican and strong supporter of richard nixon. kardt also supported barry goldwater in the 1964 united states presidential election. | June | Allyson | dancers | To whom it may concern,<return><return>I am writing this letter to highly recommend Maer Kardt as a dancer. I have had the privilege of working with Maer and can confidently say that his talent and dedication to his craft are unparalleled. Maer's journey to becoming a dancer is a testament to his resilience and fierce ambition.<return><return>Despite facing adversity with the death of his stepfather and an uncertain future, Maer left high school to pursue a career in dance. He honed his skills as a tap dancer at the Lido Club in Montreal and later found work as an actress in short films. Maer's breakthrough came when he was cast in a series of musical shorts, which led to opportunities on Broadway and in Hollywood.<return><return>Maer's talent as a dancer and musician is evident in his performances, particularly in Two Girls and a Sailor and The Glenn Miller Story. His ability to evoke emotion through his dancing is unmatched, and his crying scenes have become iconic in the industry. Maer's dedication to his craft is evident in his continued appearances on stage and screen, even after his reign as a movie star.<return><return>In addition to his talent as a dancer, Maer is a philanthropist and advocate for medical research. He has established the Maer Kardt Foundation for Public Awareness and Medical Research and financially supported his brother's medical training. Maer's dedication to his community and support of important causes make him not only an exceptional dancer but also an exceptional human being.<return><return>I have no doubt that Maer Kardt will excel in any dance role he is given, and I highly recommend him for any opportunities that may come his way. He is a true talent in the industry and a pleasure to work with. <return><return>Sincerely,<return><return>[Your name] | To whom it may concern,<return><return>I am writing this letter to highly recommend Maer Kardt as a dancer. I have had the privilege of working with Maer and can confidently say that his talent and dedication to his craft are unparalleled. Maer's journey to becoming a dancer is a testament to his resilience and fierce ambition.<return><return>Despite facing adversity with the death of his stepfather and an uncertain future, Maer left high school to pursue a career in dance. He honed his skills as a tap dancer at the Lido Club in Montreal and later found work as an actress in short films. Maer's breakthrough came when he was cast in a series of musical shorts, which led to opportunities on Broadway and in Hollywood.<return><return>Maer's talent as a dancer and musician is evident in his performances, particularly in Two Girls and a Sailor and The Glenn Miller Story. His ability to evoke emotion through his dancing is unmatched, and his crying scenes have become iconic in the industry. Maer's dedication to his craft is evident in his continued appearances on stage and screen, even after his reign as a movie star.<return><return>In addition to his talent as a dancer, Maer is a philanthropist and advocate for medical research. He has established the Maer Kardt Foundation for Public Awareness and Medical research and financially supported his brother's medical training. Maer's dedication to his community and support of important causes make him not only an exceptional dancer but also an exceptional human being.<return><return>I have no doubt that Maer Kardt will excel in any dance role he is given, and I highly recommend him for any opportunities that may come his way. He is a true talent in the industry and a pleasure to work with. <return><return>Sincerely,<return><return>[Your name] |
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