The Info List - Bing Crosby

Harry Lillis "Bing" Crosby Jr. (/ˈkrɑːzbi/; May 3, 1903 – October 14, 1977)[1][2] was an American singer and actor.[3] Crosby's trademark warm bass-baritone voice made him one of the best-selling recording artists of all time, having sold over one billion analog records and tapes, as well as digital compact discs and downloads around the world. The first multimedia star, from 1931 to 1954 Crosby was a leader in record sales, radio ratings, and motion picture grosses.[4] His early career coincided with technical recording innovations such as the microphone. This allowed him to develop a laid-back, intimate singing style that influenced many of the popular male singers who followed him, including Perry Como,[5] Frank Sinatra, Dick Haymes, and Dean Martin. Yank magazine said that he was the person who had done the most for American soldiers' morale during World War II. In 1948, American polls declared him the "most admired man alive", ahead of Jackie Robinson
Jackie Robinson
and Pope Pius XII.[6][7] Also in 1948, Music Digest estimated that his recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music.[7] Crosby won an Academy Award for Best Actor
Academy Award for Best Actor
for his role as Father Chuck O'Malley in the 1944 motion picture Going My Way
Going My Way
and was nominated for his reprise of the role in The Bells of St. Mary's opposite Ingrid Bergman
Ingrid Bergman
the next year, becoming the first of six actors to be nominated twice for playing the same character. In 1963, Crosby received the first Grammy Global Achievement Award.[8] He is one of 33 people to have three stars on the Hollywood Walk of Fame,[9] in the categories of motion pictures, radio, and audio recording.[10] Crosby influenced the development of the postwar recording industry. After seeing a demonstration of an early Ampex
reel-to-reel tape recorder he placed a large order for their equipment and convinced ABC to allow him to tape his shows. He became the first performer to pre-record his radio shows and master his commercial recordings onto magnetic tape. Through the medium of recording, he constructed his radio programs with the same directorial tools and craftsmanship (editing, retaking, rehearsal, time shifting) used in motion picture production, a practice that became an industry standard. In addition to his work with early audio tape recording, he helped to finance the development of videotape, bought television stations, bred racehorses, and co-owned the Pittsburgh Pirates
Pittsburgh Pirates
baseball team.


1 Childhood 2 Performance career

2.1 Early years 2.2 The Rhythm Boys 2.3 Success as a solo singer 2.4 "White Christmas" 2.5 Motion pictures 2.6 Television

3 Singing style and vocal characteristics 4 Career statistics 5 Entrepreneurship

5.1 Role in early tape recording 5.2 Videotape
development 5.3 TV station ownership 5.4 Thoroughbred horse racing

6 Sports 7 Personal life 8 Illness and death 9 Legacy 10 Compositions 11 Grammy Hall of Fame 12 Filmography 13 Discography 14 TV appearances 15 Radio 16 RIAA certification 17 Awards and nominations 18 See also 19 References

19.1 Sources

20 Further reading 21 External links


Crosby aged nine

Crosby was born on May 3, 1903[11][12] in Tacoma, Washington, in a house his father built at 1112 North J Street.[13] In 1906, his family moved to Spokane,[14] and in 1913, his father built a house at 508 E. Sharp Avenue.[15] The house sits on the campus of Gonzaga University, his alma mater.[16] He was the fourth of seven children: brothers Larry (1895–1975), Edward (1896–1966), Ted (1900–1973), and Bob (1913–1993); and two sisters, Catherine (1904–1974) and Mary Rose (1906–1990). His parents were Harry Lillis Crosby Sr.[17] (1870–1950), a bookkeeper, and Catherine Helen "Kate" (née Harrigan; 1873–1964).[17] His mother was a second generation Irish-American.[18] His father was of English descent; an ancestor, Simon Crosby, emigrated to America in the 17th century,[19] and one of his descendants married a descendant of Mayflower
passenger William Brewster (c. 1567 – April 10, 1644).[20] In 1910, seven-year-old Harry Crosby, Jr. was forever renamed. The Sunday edition of the Spokesman-Review
published a feature called "The Bingville Bugle".[21][22] Written by humorist Newton Newkirk, The Bingville Bugle was a parody of a hillbilly newsletter, filled with gossip, minstrel quips, creative spelling, and mock ads. A Crosby neighbor, 15-year-old Valentine Hobart, enjoyed reading "The Bugle", and noting Harry's laugh, took a liking to him and called him "Bingo from Bingville". Eventually, the last vowel was dropped and the nickname stuck.[23][24] In 1917, Crosby took a summer job as property boy at Spokane's "Auditorium," where he witnessed some of the finest acts of the day, including Al Jolson, who held him spellbound with ad libbing and parodies of Hawaiian songs. He later described Jolson's delivery as "electric."[25] Crosby graduated from Gonzaga High School (today's Gonzaga Prep) in 1920 and enrolled at Gonzaga University. He attended Gonzaga for three years but did not earn a degree.[26] As a freshman, he played on the university's baseball team.[27] The university granted him an honorary doctorate in 1937.[28] Performance career[edit] Early years[edit] In 1923, Crosby was invited to join a new band composed of high school students a few years younger than himself. Al Rinker, Miles Rinker, James Heaton, Claire Pritchard and Robert Pritchard, along with drummer Crosby, formed the Musicaladers,[3] who performed at dances both for high school students and club-goers. The group performed on Spokane radio station KHQ, but disbanded after two years.[29][30] Crosby and Al Rinker
Al Rinker
then obtained work at the Clemmer Theatre in Spokane (now known as the Bing Crosby Theater). Crosby was initially a member of a vocal trio called 'The Three Harmony Aces' with Al Rinker accompanying on piano from the pit, to entertain between the films. Bing and Al continued at the Clemmer Theatre for several months often with three other men – Wee Georgie Crittenden, Frank McBride and Lloyd Grinnell – and they were billed as 'The Clemmer Trio' or 'The Clemmer Entertainers' depending who performed.[31] In October 1925, Crosby and his partner Al Rinker, brother of singer Mildred Bailey, decided to seek fame in California. They traveled to Los Angeles
Los Angeles
where they met up with Mildred Bailey. She introduced them to her show business contacts, and the Fanchon and Marco Time Agency hired them for thirteen weeks for a revue called The Syncopation Idea, starting at the Boulevard Theater in Los Angeles
Los Angeles
and then on the Loew's circuit. They each earned $75 a week. Bing and Al Rinker
Al Rinker
began as a minor part of The Syncopation Idea and it was there that they started to develop as entertainers. They had a lively and individual style and were particularly popular with college students. After The Syncopation Idea closed, Bing and Al worked in the Will Morrissey Music Hall Revue. They further honed their skills with Morrissey, and blossomed when they subsequently had the chance to present their own independent act, and were quickly spotted by the Paul Whiteman organization. At that time, it was felt that Whiteman needed something different and entertaining to break up his musical selections, and Crosby and Rinker filled this requirement. After less than a year in full-time show business, they had become part of one of the biggest names in the entertainment world.[31] Hired for $150 a week in 1926, they debuted with Whiteman on December 6 at the Tivoli Theatre in Chicago. Their first recording, in October 1926, was I've Got the Girl, with Don Clark's Orchestra, but the Columbia-issued record did them no vocal favors, as it was inadvertently recorded at a speed slower than it should have been, which increased the singers' pitch when played at 78 rpm. Throughout his career, Crosby often credited Mildred Bailey
Mildred Bailey
for getting him his first important job in the entertainment business.[32] The Rhythm Boys[edit] Initial successes with Whiteman were followed by disaster when they reached New York and Whiteman considered letting them go. Bing may have been retained as Whiteman was already using him as a solo performer on record, but the prospects for Rinker were bleak. However, the addition of pianist and aspiring songwriter Harry Barris
Harry Barris
made the difference and "The Rhythm Boys" were born. The additional voice meant the boys could be heard more easily in the large New York theaters and eventually became a success. A year touring with Whiteman performing and recording with musicians Bix Beiderbecke, Jack Teagarden, Tommy Dorsey, Jimmy Dorsey, Eddie Lang
Eddie Lang
and Hoagy Carmichael, provided valuable experience and began touring. Crosby then matured considerably as a performer and was in constant demand as a solo artist.[33] Crosby soon became the star attraction of the Rhythm Boys, and in 1928 he had his first number one hit with the Whiteman orchestra, a jazz-influenced rendition of "Ol' Man River". In 1929, the Rhythm Boys appeared in the film The King of Jazz
with Whiteman but Bing's growing dissatisfaction with Whiteman led to the Rhythm Boys leaving his organization. They joined the Gus Arnheim
Gus Arnheim
Orchestra performing nightly in The Coconut Grove of the Ambassador Hotel. Singing with the Arnheim Orchestra, Bing's solos began to steal the show, while the Rhythm Boys act gradually became redundant. Harry Barris
Harry Barris
wrote several of Crosby's subsequent hits including "At Your Command", "I Surrender Dear", and "Wrap Your Troubles In Dreams". In the early months of 1931, a solo recording contract came Bing's way, Mack Sennett
Mack Sennett
signed him to make film shorts and a break with the Rhythm Boys became almost inevitable. Bing had married Dixie Lee
Dixie Lee
in September 1930 and after a threatened divorce in March 1931, he started to apply himself seriously to his career. His gramophone records in 1931 broke new ground as his powerful and emotional singing started to change the face of popular music forever. Their low salaries at the Cocoanut Grove of the Ambassador Hotel had led the Rhythm Boys to walk out, causing union problems for Bing. Bing's brother, Everett, interested Bill Paley
Bill Paley
of CBS
in his brother and Paley beckoned Bing to come to New York. A settlement was reached with the Ambassador Hotel and Bing made his first solo national radio broadcast in September 1931 and then went on to star at the New York Paramount Theatre. Success as a solo singer[edit]

Crosby in 1932

On September 2, 1931, Crosby made his solo radio debut.[34] Before the end of the year, he signed with both Brunswick Records
Brunswick Records
and CBS
Radio. Doing a weekly 15-minute radio broadcast, Crosby quickly became a huge hit.[35] His songs "Out of Nowhere", "Just One More Chance", "At Your Command" and "I Found a Million Dollar Baby (in a Five and Ten Cent Store)" were all among the best selling songs of 1931.[35] As the 1930s unfolded, Crosby became the leading singer in America. Ten of the top 50 songs for 1931 featured Crosby, either solo or with others. A so-called "Battle of the Baritones" with singing star Russ Columbo proved short-lived, replaced with the slogan " Bing Was King". Crosby played the lead in a series of sound-era musical comedy short films for Mack Sennett, signed with Paramount and starred in his first full-length feature, 1932's The Big Broadcast, the first of 55 films in which he received top billing. He would appear in 79 pictures, and signed a long-term deal with Jack Kapp's new record company Decca in late 1934. His first commercial sponsor on radio was Cremo Cigars and increasingly his fame spread nationwide. After a long run in New York, Bing went back to Hollywood to film The Big Broadcast
The Big Broadcast
and his personal appearances, his records, and his radio work substantially increased his impact. The success of his first full-length film brought him a contract with Paramount and he began a regular pattern of making three films a year. On radio, he fronted his own show for Woodbury Soap for two seasons and gradually his live appearances dwindled. His records produced hit after hit at a time when record sales generally were in decline because of the Depression. Critically acclaimed audio engineer Steve Hoffman once stated: "By the way, Bing actually saved the record business in 1934 when he agreed to support Decca founder Jack Kapp's crazy idea of lowering the price of singles from a dollar to 35 cents and getting a royalty for records sold instead of a flat fee. Bing's name and his artistry saved the recording industry. All the other artists signed to Decca after Bing did. Without him, Jack Kapp wouldn't have had a chance in hell of making Decca work and the Great Depression would have wiped out phonograph records for good."[36] His social life was hectic, his first son Gary was born in 1933 with twin boys following in 1934. By 1936, he'd replaced his former boss, Paul Whiteman, as host of the prestigious NBC
radio program Kraft Music Hall, the weekly radio program where he remained for the next ten years. Where the Blue of the Night
Blue of the Night
(Meets the Gold of the Day), which showcased one of his then-trademark whistling interludes, became his theme song and signature tune. Also in 1936, Crosby exercised an option from Paramount to make a film out-of-house. Quickly signed to a one-picture agreement with Columbia, Crosby dreamt of having his icon and friend Louis Armstrong, an African-American, who largely influenced his singing style, in a screen adaptation of The Peacock Feather called Pennies from Heaven. Crosby talked to Harry Cohn
Harry Cohn
about the matter, but he disagreed saying: "... no reason to entail the expense of flying him in and having no desire to negotiate with Armstrong's crude, mob-linked but devoted manager, Joe Glaser." Bing threatened to walk out on the film and refused to discuss it with Cohn. Armstrong's musical scenes, along with some comical dialogue as well, heightened his career. Bing also had it that Armstrong made high billing alongside his white co-stars, one of the first times ever for a black performer in a wide-audience film. He starred as himself in many more films to come and had a large appreciation for Bing's unracist views, often thanking him in his later years.[37] Crosby's much-imitated style helped take popular singing beyond the kind of "belting" associated with boisterous performers like Al Jolson and Billy Murray, who had been obliged to reach the back seats in New York theaters without the aid of the microphone. As Henry Pleasants noted in The Great American Popular Singers, something new had entered American music, a style that might be called "singing in American" with conversational ease. This new sound led to the popular epithet "crooner". During the Second World War, Crosby made numerous live appearances before American troops fighting in the European Theater. He also learned how to pronounce German from written scripts and would read propaganda broadcasts intended for the German forces. The nickname "Der Bingle" was common among Crosby's German listeners and came to be used by his English-speaking fans. In a poll of U.S. troops at the close of World War II, Crosby topped the list as the person who had done the most for G.I. morale, ahead of President Franklin Delano Roosevelt, General Dwight Eisenhower, and Bob Hope. The June 18, 1945, issue of Life magazine stated: "America's number one star, Bing Crosby, has won more fans, made more money than any entertainer in history. Today he is a kind of national institution." They also state: "In all, 60,000,000 Crosby disks have been marketed since he made his first record in 1931. His biggest best seller is White Christmas, 2,000,000 impressions of which have been sold in the U.S. and 250,000 in Great Britain." They go on to say: "Nine out of ten singers and bandleaders listen to Crosby's broadcasts each Thursday night and follow his lead. The day after he sings a song over the air – any song – some 50,000 copies of it are sold throughout the U.S. Time and again Crosby has taken some new or unknown ballad, has given it what is known in trade circles as the "big goose" and made it a hit single-handed and overnight." and "Precisely what the future holds for Crosby neither his family nor his friends can conjecture. He has achieved greater popularity, made more money, attracted vaster audiences than any other entertainer in history. And his star is still in the ascendant. His contract with Decca runs until 1955. His contract with Paramount runs until 1954. Records which he made ten years ago are selling better than ever before. The nation's appetite for Crosby's voice and personality appears insatiable. To soldiers overseas and to foreigners he has become a kind of symbol of America, of the amiable, humorous citizen of a free land. Crosby, however, seldom bothers to contemplate his future. For one thing, he enjoys hearing himself sing, and if ever a day should dawn when the public wearies of him, he will complacently go right on singing – to himself."[38][39] "White Christmas"[edit] Main article: White Christmas (song)

Crosby and Marjorie Reynolds
Marjorie Reynolds
in Holiday Inn (1942)

The biggest hit song of Crosby's career was his recording of Irving Berlin's "White Christmas", which he introduced on a Christmas Day radio broadcast in 1941. (A copy of the recording from the radio program is owned by the estate of Bing Crosby and was loaned to CBS Sunday Morning for their December 25, 2011, program.) The song then appeared in his 1942 movie Holiday Inn. His record hit the charts on October 3, 1942, and rose to No. 1 on October 31, where it stayed for 11 weeks. A holiday perennial, the song was repeatedly re-released by Decca, charting another 16 times. It topped the charts again in 1945 and for a third time in January 1947. The song remains the bestselling single of all time.[35] According to Guinness World Records, his recording of "White Christmas" has sold over 100 million copies around the world, with at least 50 million sales as singles.[40] His recording was so popular that he was obliged to re-record it in 1947 using the same musicians and backup singers; the original 1942 master had become damaged due to its frequent use in pressing additional singles. Though the two versions are similar, the 1947 recording is more familiar today.[citation needed] After his death in 1977, the song was re-released and reached the No. 5 position in the UK Singles Chart in December 1977.[41] Crosby was dismissive of his role in the song's success, saying "a jackdaw with a cleft palate could have sung it successfully." Motion pictures[edit] Main article: Bing Crosby filmography

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Crosby with Bob Hope
Bob Hope
in Road to
Road to
Bali (1952)

In the wake of a solid decade of headlining mainly smash hit musical comedy films in the 1930s, Crosby starred with Bob Hope
Bob Hope
and Dorothy Lamour in seven Road to
Road to
musical comedies between 1940 and 1962, cementing Crosby and Hope as an on-and-off duo, despite never officially declaring themselves a "team" in the sense that Laurel and Hardy or Martin and Lewis
Martin and Lewis
( Dean Martin
Dean Martin
and Jerry Lewis) were teams. The series consists of Road to
Road to
Singapore (1940), Road to
Road to
Zanzibar (1941), Road to
Road to
Morocco (1942), Road to
Road to
Utopia (1946), Road to
Road to
Rio (1947), Road to
Road to
Bali (1952), and The Road to
Road to
Hong Kong (1962). When they appeared solo, Crosby and Hope frequently made note of the other in a comically insulting fashion. They performed together many times on stage, radio, film, television, and numerous brief and not so brief appearances together in movies aside from the "Road" pictures.

Crosby in Road to
Road to

In the 1949 Disney animated film The Adventures of Ichabod and Mr. Toad, Crosby provided the narration and song vocals for The Legend of Sleepy Hollow segment, and again in the 1977 Disney animated film The Many Adventures of Ichabod and Winnie the Pooh. In 1960, he starred in High Time, a collegiate comedy with Fabian Forte
Fabian Forte
and Tuesday Weld
Tuesday Weld
that predicted the emerging gap between him and the new young generation of musicians and actors who had begun their careers after WWII. The following year, Crosby and Hope reunited for one more Road movie, The Road to
Road to
Hong Kong, which teamed them up with the much younger Joan Collins and Peter Sellers. Collins was used in place of their longtime partner Dorothy Lamour, whom Crosby felt was getting too old for the role, though Hope refused to do the movie without her, and she instead made a cameo appearance.[35] Shortly before his death in 1977, he had planned another Road film in which he, Hope, and Lamour search for the Fountain of Youth. He won an Academy Award for Best Actor
Academy Award for Best Actor
for Going My Way
Going My Way
in 1944 and was nominated for the 1945 sequel, The Bells of St. Mary's. He received critical acclaim for his performance as an alcoholic entertainer in The Country Girl and received his third Academy Award nomination.[42] Television[edit] Main article: Bing Crosby TV appearances listing

Crosby and his family in a Christmas special, 1974

The Fireside Theater (1950) was his first television production. The series of 26-minute shows was filmed at Hal Roach Studios rather than performed live on the air. The "telefilms" were syndicated to individual television stations. He was a frequent guest on the musical variety shows of the 1950s and 1960s. He was associated with ABC's The Hollywood Palace. He was the show's first and most frequent guest host and appeared annually on its Christmas edition with his wife Kathryn and his younger children. In the early 1970s, he made two late appearances on the Flip Wilson Show, singing duets with the comedian. His last TV appearance was a Christmas special taped in London in September 1977 and aired weeks after his death.[43] It was on this special that he recorded a duet of "The Little Drummer Boy" and "Peace on Earth" with rock star David Bowie. Their duet was released in 1982 as a single 45-rpm record and reached No. 3 in the UK singles charts.[41] It has since become a staple of holiday radio and the final popular hit of Crosby's career. At the end of the 20th century, TV Guide listed the Crosby-Bowie duet as one of the 25 most memorable musical moments of 20th-century television. Bing Crosby Productions, affiliated with Desilu Studios
Desilu Studios
and later CBS Television Studios, produced a number of television series, including Crosby's own unsuccessful ABC sitcom The Bing Crosby Show in the 1964–1965 season (with co-stars Beverly Garland
Beverly Garland
and Frank McHugh). The company produced two ABC medical dramas, Ben Casey
Ben Casey
(1961–1966) and Breaking Point (1963–1964), the popular Hogan's Heroes (1965–1971) military comedy on CBS, as well as the lesser-known show Slattery's People
Slattery's People
(1964–1965). Singing style and vocal characteristics[edit]

Crosby in a 1930s publicity photo

Crosby was one of the first singers to exploit the intimacy of the microphone, rather than using the deep, loud "vaudeville style" associated with Al Jolson
Al Jolson
and others.[44] He was, by his own definition, a "phraser" or a singer who placed equal emphasis on both the lyrics and the music.[45] Crosby's love and appreciation of jazz music helped bring the genre to a wider mainstream audience. Within the framework of the novelty-singing style of the Rhythm Boys, Crosby bent notes and added off-tune phrasing, an approach that was firmly rooted in jazz. He had already been introduced to Louis Armstrong
Louis Armstrong
and Bessie Smith
Bessie Smith
prior to his first appearance on record. Crosby and Armstrong would remain professionally friendly for decades, notably in the 1956 film High Society, where they sang the duet "Now You Has Jazz". During the early portion of his solo career (about 1931–1934), Crosby's emotional, often pleading style of crooning was widely popular. But Jack Kapp (manager of Brunswick and later Decca) talked Crosby into dropping many of his jazzier mannerisms, in favor of a straight-ahead clear vocal style. Crosby credited Kapp for choosing hit songs, working with many other artists, and most importantly, diversifying his repertoire into various styles and genres. This approach's wide appeal helped Crosby become highly successful, charting number-one hits in the genres of Christmas music, Hawaiian music and Country music, as well as top-thirty hits in Irish music, French music, Rhythm and blues, as well as Ballad
songs.[5][46] Crosby also elaborated on a further idea of Al Jolson's: phrasing, or the art of making a song's lyric ring true. His success in doing so was influential. "I used to tell Sinatra over and over," said Tommy Dorsey, "there's only one singer you ought to listen to and his name is Crosby. All that matters to him is the words, and that's the only thing that ought to for you, too."[47] Vocal critic Henry Pleasants wrote:

[While] the octave B flat to B flat in Bing's voice at that time [1930s] is, to my ears, one of the loveliest I have heard in forty-five years of listening to baritones, both classical and popular, it dropped conspicuously in later years. From the mid-1950s, Bing was more comfortable in a bass range while maintaining a baritone quality, with the best octave being G to G, or even F to F. In a recording he made of 'Dardanella' with Louis Armstrong
Louis Armstrong
in 1960, he attacks lightly and easily on a low E flat. This is lower than most opera basses care to venture, and they tend to sound as if they were in the cellar when they get there.[48]

Career statistics[edit]

White Christmas (1954)

Crosby's was among the most popular and successful musical acts of the 20th century. Although Billboard magazine operated under different methodologies for the bulk of Crosby's career, his chart numbers remain astonishing: 396 chart singles, including 41 No. 1 hits.[49] If the multiple times "White Christmas" charted are counted, that would bring that number up to 43 – more than The Beatles
The Beatles
and Elvis
combined.[49] Crosby had separate charting singles in every calendar year between 1931 and 1954; the annual re-release of "White Christmas" extended that streak to 1957. He had 24 separate popular singles in 1939 alone. Crosby may have been the best selling recording artist ever, with up to 1 billion units sold.[49][50] Statistician Joel Whitburn at Billboard determined that Crosby was America's most successful recording act of the 1930s and again in the 1940s. For 15 years (1934, 1937, 1940, 1943–1954), Crosby was among the top 10 in box-office drawing power, and for five of those years (1944–1948) he topped the world.[35] He sang four Academy Award-winning songs – "Sweet Leilani" (1937), "White Christmas" (1942), "Swinging on a Star" (1944), "In the Cool, Cool, Cool of the Evening" (1951) – and won the Academy Award for Best Actor
Academy Award for Best Actor
for his role in Going My Way
Going My Way
(1944). A survey in 2000 found that with 1,077,900,000 movie tickets sold, Crosby was the third most popular actor of all time, behind Clark Gable (1,168,300,000) and John Wayne
John Wayne
(1,114,000,000).[51] The International Motion Picture Almanac lists him in a tie for second on the "All Time Number One Stars List" with Clint Eastwood, Tom Hanks, and Burt Reynolds.[52] His most popular film, White Christmas, grossed $30 million in 1954 ($273 million in current value).[53] He received 23 gold and platinum records, according to the book Million Selling Records. The Recording Industry Association of America did not institute its gold record certification program until 1958, by which point Crosby's record sales were barely a blip. Before that, gold records were awarded by an artist's own record company. Universal Music, current owner of Crosby's Decca catalog, has never requested RIAA certification for any of his hit singles. Crosby charted 23 Billboard hits from 47 recorded songs with the Andrews Sisters, whose Decca record sales were second only to Crosby's throughout the 1940s. Patty, Maxene, and LaVerne were his most frequent collaborators on disc from 1939 to 1952—a partnership that produced four million-selling singles: "Pistol Packin' Mama", "Jingle Bells", "Don't Fence Me In", and "South America, Take it Away". They made one film appearance together in Road to
Road to
Rio singing "You Don't Have to Know the Language", and sang together countless times on radio shows throughout the 1940s and 1950s. They appeared as guests on each other's shows quite often, as well as on many shows for the Armed Forces Radio Service during and after World War II. The quartet's Top-10 Billboard hits from 1943 to 1945 including "The Vict'ry Polka", "There'll Be a Hot Time in the Town of Berlin (When the Yanks Go Marching In)", and "Is You Is or Is You Ain't (Ma' Baby?)" were major morale-boosters for the American public during the war years.[54] In 1962, Crosby was given the Grammy Lifetime Achievement Award. He has been inducted into the halls of fame for both radio and popular music. In 2007 Crosby was inducted into the Hit Parade Hall of Fame, and in 2008 into the Western Music Hall of Fame.[55] Entrepreneurship[edit] Role in early tape recording[edit]

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During the Golden Age of Radio, performers had to create their shows live, sometimes even redoing the program a second time for the west coast time zone. Crosby's radio career took a significant turn in 1945, when he clashed with NBC
over his insistence that he be allowed to pre-record his radio shows.[56] (The live production of radio shows was also reinforced by the musicians' union and ASCAP, which wanted to ensure continued work for their members.) In On the Air: The Encyclopedia of Old-Time Radio, historian John Dunning wrote about German engineers having developed a tape recorder with a near-professional broadcast quality standard:

[Crosby saw] an enormous advantage in prerecording his radio shows. The scheduling could now be done at the star's convenience. He could do four shows a week, if he chose, and then take a month off. But the networks and sponsors were adamantly opposed. The public wouldn't stand for 'canned' radio, the networks argued. There was something magic for listeners in the fact that what they were hearing was being performed and heard everywhere, at that precise instant. Some of the best moments in comedy came when a line was blown and the star had to rely on wit to rescue a bad situation. Fred Allen, Jack Benny, Phil Harris, and also Crosby were masters at this, and the networks weren't about to give it up easily.

Crosby's insistence eventually factored into the further development of magnetic tape sound recording and the radio industry's widespread adoption of it.[57][58][59] He used his clout, both professional and financial, to innovate new methods of reproducing audio of his performances. But NBC
(and competitor CBS) were also insistent, refusing to air prerecorded radio programs. Crosby walked away from the network and stayed off the air for seven months, creating a legal battle with Kraft, his sponsor, that was settled out of court. Crosby returned to the air for the last 13 weeks of the 1945–1946 season. The Mutual network, on the other hand, had pre-recorded some of its programs as early as the 1938 run of The Shadow
The Shadow
with Orson Welles. And the new ABC network, which had been formed out of the sale of the old NBC Blue Network
NBC Blue Network
in 1943 following a federal anti-trust action, was willing to join Mutual in breaking the tradition. ABC offered Crosby $30,000 per week to produce a recorded show every Wednesday that would be sponsored by Philco. He would also get an additional $40,000 from 400 independent stations for the rights to broadcast the 30-minute show, which was sent to them every Monday on three 16-inch lacquer discs that played ten minutes per side at 33⅓ rpm. Crosby wanted to change to recorded production for several reasons. The legend that has been most often told is that it would give him more time for his golf game. And he did record his first Philco program in August 1947 so he could enter the Jasper National Park Invitational Golf Tournament in September, just when the new radio season was to start. But golf was not the most important reason.

With Perry Como
Perry Como
and Arthur Godfrey
Arthur Godfrey
in 1950

Though Crosby did want more time to tend to his other business and leisure activities, he also sought better quality through recording, including being able to eliminate mistakes and control the timing of his show performances. Because his own Bing Crosby Enterprises produced the show, he could purchase the latest and best sound equipment and arrange the microphones his way; the logistics of microphone placement had long been a hotly debated issue in every recording studio since the beginning of the electrical era. No longer would he have to wear the hated toupee on his head previously required by CBS
and NBC
for his live audience shows (he preferred a hat). He could also record short promotions for his latest investment, the world's first frozen orange juice, sold under the brand name Minute Maid. This investment allowed Crosby to make more money by finding a loophole whereby the IRS couldn't tax him at a 77% rate.[60] Murdo MacKenzie of Bing Crosby Enterprises had seen a demonstration of the German Magnetophon
in June 1947—the same device that Jack Mullin had brought back from Radio Frankfurt, along with 50 reels of tape, at the end of the war. It was one of the magnetic tape recorders that BASF and AEG had built in Germany starting in 1935. The 6.5mm ferric-oxide-coated tape could record 20 minutes per reel of high-quality sound. Alexander M. Poniatoff ordered his Ampex
company, which he'd founded in 1944, to manufacture an improved version of the Magnetophone. Crosby hired Mullin to start recording his Philco
Radio Time show on his German-made machine in August 1947, using the same 50 reels of I.G. Farben magnetic tape that Mullin had found at a radio station at Bad Nauheim
Bad Nauheim
near Frankfurt
while working for the U.S. Army Signal Corps. The crucial advantage was editing. As Crosby wrote in his autobiography:

By using tape, I could do a thirty-five or forty-minute show, then edit it down to the twenty-six or twenty-seven minutes the program ran. In that way, we could take out jokes, gags, or situations that didn't play well and finish with only the prime meat of the show; the solid stuff that played big. We could also take out the songs that didn't sound good. It gave us a chance to first try a recording of the songs in the afternoon without an audience, then another one in front of a studio audience. We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product. If I made a mistake in singing a song or in the script, I could have some fun with it, then retain any of the fun that sounded amusing.

Mullin's 1976 memoir of these early days of experimental recording agrees with Crosby's account:

In the evening, Crosby did the whole show before an audience. If he muffed a song then, the audience loved it—thought it was very funny—but we would have to take out the show version and put in one of the rehearsal takes. Sometimes, if Crosby was having fun with a song and not really working at it, we had to make it up out of two or three parts. This ad lib way of working is commonplace in the recording studios today, but it was all new to us.

Crosby invested US$50,000 in Ampex
with an eye towards producing more machines.[61] In 1948, the second season of Philco
shows was taped with the new Ampex
Model 200 tape recorder using the new Scotch 111 tape from the Minnesota Mining and Manufacturing (3M) company. Mullin explained how one new broadcasting technique was invented on the Crosby show with these machines:

One time Bob Burns, the hillbilly comic, was on the show, and he threw in a few of his folksy farm stories, which of course were not in Bill Morrow's script. Today they wouldn't seem very off-color, but things were different on radio then. They got enormous laughs, which just went on and on. We couldn't use the jokes, but Bill asked us to save the laughs. A couple of weeks later he had a show that wasn't very funny, and he insisted that we put in the salvaged laughs. Thus the laugh-track was born.

Crosby had launched the tape recorder revolution in America. In his 1950 film Mr. Music, Crosby is seen singing into one of the new Ampex tape recorders that reproduced his voice better than anything else. Also quick to adopt tape recording was his friend Bob Hope. He gave one of the first Ampex
Model 300 recorders to his friend, musician Les Paul, which led directly to Paul's invention of multitrack recording. His organization, the Crosby Research Foundation, also held various tape recording patents and developed equipment and recording techniques such as the laugh track that are still in use today.[61] Along with Frank Sinatra, Crosby was also one of the principal backers behind the famous United Western Recorders recording studio complex in Los Angeles.[62] Videotape
development[edit] Mullin continued to work for Crosby to develop a videotape recorder (VTR). Television production was mostly live television in its early years, but Crosby wanted the same ability to record that he had achieved in radio. 1950's The Fireside Theater, sponsored by Procter & Gamble, was his first television production. Mullin had not yet succeeded with videotape, so Crosby filmed the series of 26-minute shows at the Hal Roach Studios, and the "telefilms" were syndicated to individual television stations. Crosby continued to finance the development of videotape. Bing Crosby Enterprises (BCE) gave the world's first demonstration of videotape recording in Los Angeles
Los Angeles
on November 11, 1951. Developed by John T. Mullin and Wayne R. Johnson since 1950, the device aired what were described as "blurred and indistinct" images, using a modified Ampex 200 tape recorder and standard quarter-inch (6.3 mm) audio tape moving at 360 inches (9.1 m) per second.[63] TV station ownership[edit] A Crosby-led group purchased station KCOP-TV, in Los Angeles, California, in 1954.[64] NAFI Corporation and Crosby together purchased the television station KPTV, in Portland, Oregon, for $4 million on September 1, 1959.[65] In 1960, NAFI purchased KCOP from Crosby's group.[64] In the early 1950s, Crosby helped establish the CBS
television affiliate in his hometown of Spokane, Washington. He partnered with Ed Craney, who owned the CBS
radio affiliate, KXLY (AM), and built a television studio just west of Crosby's alma mater, Gonzaga University. Once it begin broadcasting, the station was sold within the year to Northern Pacific Radio and Television Corp.[66][67] Thoroughbred horse racing[edit] Crosby was a fan of thoroughbred horse racing and bought his first racehorse in 1935. In 1937, he became a founding partner of the Del Mar Thoroughbred Club and a member of its Board of Directors.[68][69] Operating from the Del Mar Racetrack
Del Mar Racetrack
at Del Mar, California, the group included millionaire businessman Charles S. Howard, who owned a successful racing stable that included Seabiscuit.[68] Charles' son, Lindsay C. Howard became one of Crosby's closest friends; Crosby named his son Lindsay after him, and would purchase his 40-room Hillsborough, California
estate from Lindsay in 1965. Crosby and Lindsay Howard formed Binglin Stable to race and breed thoroughbred horses at a ranch in Moorpark in Ventura County, California.[68] They also established the Binglin stock farm in Argentina, where they raced horses at Hipódromo de Palermo in Palermo, Buenos Aires. A number of Argentine-bred horses were purchased and shipped to race in the United States. On August 12, 1938, the Del Mar Thoroughbred Club hosted a $25,000 winner-take-all match race won by Charles S. Howard's Seabiscuit
over Binglin's horse Ligaroti.[69] In 1943, Binglin's horse Don Bingo won the Suburban Handicap at Belmont Park
Belmont Park
in Elmont, New York.[70] The Binglin Stable partnership came to an end in 1953 as a result of a liquidation of assets by Crosby, who needed to raise enough funds to pay the hefty federal and state inheritance taxes on his deceased wife's estate.[71] The Bing Crosby Breeders' Cup Handicap at Del Mar Racetrack is named in his honor. Crosby was also a co-owner of the British colt Meadow Court, with jockey Johnny Longden's friend Max Bell. Meadow Court won the 1965 King George VI and Queen Elizabeth Stakes, and the Irish Derby. In the Irish Derby's winner's circle at the Curragh, Crosby sang "When Irish Eyes Are Smiling". Though Crosby's stables had some success, he often joked about his horse racing failures as part of his radio appearances. "Crosby's horse finally came in" became a running gag. Sports[edit] Crosby had an interest in sports. In the 1930s, his friend and former college classmate, Gonzaga head coach Mike Pecarovich appointed Crosby as an assistant football coach.[72] From 1946 until his death, he owned a 25% share of the Pittsburgh Pirates. Although he was passionate about the team, he was too nervous to watch the deciding Game 7 of the 1960 World Series, choosing to go to Paris with Kathryn and listen to its radio broadcast. Crosby had arranged for Ampex, another of his financial investments, to record the NBC
telecast on kinescope. The game was one of the most famous in baseball history, capped off by Bill Mazeroski's walk-off home run. He apparently viewed the complete film just once, and then stored it in his wine cellar, where it remained undisturbed until it was discovered in December 2009.[73][74] The restored broadcast was shown on MLB Network
MLB Network
in December 2010. Crosby was also an avid golfer, and in 1978, he and Bob Hope
Bob Hope
were voted the Bob Jones Award, the highest honor given by the United States Golf Association in recognition of distinguished sportsmanship. He is a member of the World Golf Hall of Fame. In 1937, Crosby hosted the first 'Crosby Clambake' as it was popularly known, at Rancho Santa Fe Golf Club in Rancho Santa Fe, California, the event's location prior to World War II. Sam Snead won the first tournament, in which the first place check was for $500. After the war, the event resumed play in 1947 on golf courses in Pebble Beach, where it has been played ever since. Now the AT&T Pebble Beach Pro-Am, it has been a leading event in the world of professional golf. Crosby first took up golf at 12 as a caddy, dropped it, and started again in 1930 with some fellow cast members in Hollywood during the filming of The King of Jazz. Crosby was accomplished at the sport, with a two handicap. He competed in both the British and U.S. Amateur championships, was a five-time club champion at Lakeside Golf Club in Hollywood, and once made a hole-in-one on the 16th at Cypress Point. Crosby was a keen fisherman especially in his younger days but it was a pastime that he enjoyed throughout his life. In the summer of 1966 he spent a week as the guest of Lord Egremont, staying in Cockermouth and fishing on the River Derwent. His trip was filmed for The American Sportsman on ABC, although all did not go well at first as the salmon were not running. He did make up for it at the end of the week by catching a number of sea trout.[75] Personal life[edit]

Crosby's sons from his first marriage. From left: The four Crosby brothers – Dennis, Gary, Lindsay and Phillip in 1959.

Bing, Harry and Nathan Crosby (1975)

Crosby was married twice. His first wife was actress/nightclub singer Dixie Lee, to whom he was married from 1930 until her death from ovarian cancer in 1952; they had four sons: Gary, twins Dennis and Phillip, and Lindsay. The 1947 Susan Hayward
Susan Hayward
film, Smash-Up: The Story of a Woman, is indirectly based on Lee's life. Bing and Dixie along with their children lived at 10500 Camarillo Street in North Hollywood for over five years.[76] After her death, Crosby had relationships with model/Goldwyn Girl Pat Sheehan (who married his son Dennis in 1958) and actresses Inger Stevens
Inger Stevens
and Grace Kelly
Grace Kelly
before marrying the actress Kathryn Grant, who converted to Catholicism, in 1957. They had three children: Harry Lillis III (who played Bill in Friday the 13th), Mary (best known for portraying Kristin Shepard, who shot J. R. Ewing on TV's Dallas), and Nathaniel (the 1981 U.S. Amateur champion in golf). Crosby was a seventh cousin of both President Calvin Coolidge
Calvin Coolidge
and his Vice President, Charles G. Dawes.[77] Crosby reportedly had an alcohol problem in his youth, and may have been dismissed from Paul Whiteman's orchestra because of it, but he later got a handle on his drinking. According to Giddins, Crosby told his son Gary to stay away from alcohol, adding, "It killed your mother."[78] After Crosby's death, his eldest son, Gary, wrote a highly critical memoir, Going My Own Way, depicting his father as cruel, cold, remote, and both physically and psychologically abusive.[79] Gary Crosby wrote:

We had to keep a close watch on our actions ... When one of us left a sneaker or pair of underpants lying around, he had to tie the offending object on a string and wear it around his neck until he went off to bed that night. Dad called it "the Crosby lavalier". At the time the humor of the name escaped me ... "Satchel Ass" or "Bucket Butt" or "My Fat-assed Kid". That's how he introduced me to his cronies when he dragged me along to the studio or racetrack ... By the time I was ten or eleven he had stepped up his campaign by adding lickings to the regimen. Each Tuesday afternoon he weighed me in, and if the scale read more than it should have, he ordered me into his office and had me drop my trousers ... I dropped my pants, pulled down my undershorts and bent over. Then he went at it with the belt dotted with metal studs he kept reserved for the occasion. Quite dispassionately, without the least display of emotion or loss of self-control, he whacked away until he drew the first drop of blood, and then he stopped. It normally took between twelve and fifteen strokes. As they came down I counted them off one by one and hoped I would bleed early ... When I saw Going My Way
Going My Way
I was as moved as they were by the character he played. Father O'Malley handled that gang of young hooligans in his parish with such kindness and wisdom that I thought he was wonderful too. Instead of coming down hard on the kids and withdrawing his affection, he forgave them their misdeeds, took them to the ball game and picture show, taught them how to sing. By the last reel, the sheer persistence of his goodness had transformed even the worst of them into solid citizens. Then the lights came on and the movie was over. All the way back to the house I thought about the difference between the person up there on the screen and the one I knew at home.[80] Younger son Phillip vociferously disputed his brother Gary's claims about their father. Around the time Gary made his claim, Phillip stated to the press that "Gary is a whining ... crybaby, walking around with a 2-by-4 and just daring people to nudge it off."[81] However, Phillip did not deny that Crosby believed in corporal punishment.[81] In an interview with People, Phillip stated that "we never got an extra whack or a cuff we didn't deserve."[81] During a later interview conducted in 1999 by the Globe, Phillip said:

My dad was not the monster my lying brother said he was; he was strict, but my father never beat us black and blue, and my brother Gary was a vicious, no-good liar for saying so. I have nothing but fond memories of Dad, going to studios with him, family vacations at our cabin in Idaho, boating and fishing with him. To my dying day, I'll hate Gary for dragging Dad's name through the mud. He wrote Going My Own Way out of greed. He wanted to make money and knew that humiliating our father and blackening his name was the only way he could do it. He knew it would generate a lot of publicity. That was the only way he could get his ugly, no-talent face on television and in the newspapers. My dad was my hero. I loved him very much. He loved all of us too, including Gary. He was a great father.[82]

However, Dennis and Lindsay Crosby
Lindsay Crosby
confirmed that their father was physically abusive. Lindsay added, "I'm glad [Gary] did it. I hope it clears up a lot of the old lies and rumors." Unlike Gary, however, Lindsay said that he preferred to remember "all the good things I did with my dad and forget the times that were rough." Dennis asserted that the book was "Gary's business" and a result of his "anger," but would not deny the book's claims. Bing's younger brother, singer and jazz bandleader Bob Crosby, recalled at the time of Gary's revelations that Bing was a "disciplinarian," as their mother and father had been. He added, "We were brought up that way." In an interview for the same article, Gary clarified that Bing was abusive as a means of administering punishment: "He was not out to be vicious, to beat children for his kicks."[79] It was revealed that Crosby's will had established a blind trust, with none of the sons receiving an inheritance until they reached the age of 65.[83] Lindsay Crosby
Lindsay Crosby
died in 1989 and Dennis Crosby
Dennis Crosby
died in 1991, both by suicide from self-inflicted gunshot wounds, at ages 51 and 56, respectively. Gary Crosby died in 1995 at the age of 62 of lung cancer and 69-year-old Phillip Crosby
Phillip Crosby
died in 2004 of a heart attack.[84] Widow Kathryn Crosby
Kathryn Crosby
dabbled in local theater productions intermittently, and appeared in television tributes to her late husband. Nathaniel Crosby, Crosby's youngest son from his second marriage, was a high-level golfer who won the U.S. Amateur at age 19 in 1981, at the time the youngest-ever winner of that event. Harry Crosby is an investment banker who occasionally makes singing appearances. Denise Crosby, Dennis Crosby's daughter, is also an actress and is known for her role as Tasha Yar
Tasha Yar
on Star Trek: The Next Generation, and for the recurring role of the Romulan Sela (daughter of Tasha Yar) after her withdrawal from the series as a regular cast member. She also appeared in the film adaptation of Stephen King's novel Pet Sematary. In 2006, Crosby's niece, Carolyn Schneider, published the laudatory book Me and Uncle Bing. There have been disputes between Crosby's two families beginning in the late 1990s. When Dixie died in 1952, her will provided that her share of the community property be distributed in trust to her sons. After Crosby's death in 1977, he left the residue of his estate to a marital trust for the benefit of his widow, Kathryn, and HLC Properties, Ltd., was formed for the purpose of managing his interests, including his right of publicity. In 1996, Dixie's trust sued HLC and Kathryn for declaratory relief as to the trust's entitlement to interest, dividends, royalties, and other income derived from the community property of Crosby and Dixie. In 1999, the parties settled for approximately $1.5 million. Relying on a retroactive amendment to the California
Civil Code, Dixie's trust brought suit again, in 2010, alleging that Crosby's right of publicity was community property, and that Dixie's trust was entitled to a share of the revenue it produced. The trial court granted Dixie's trust's claim. The California
Court of Appeal reversed, however, holding that the 1999 settlement barred the claim. In light of the court's ruling, it was unnecessary for the court to decide whether a right of publicity can be characterized as community property under California law.[85] Illness and death[edit]

Commemorative plaque in the Brighton Centre
Brighton Centre

Following his recovery from a life-threatening fungal infection of his right lung in January 1974, Crosby emerged from semi-retirement to start a new spate of albums and concerts. In March 1977, after videotaping a concert at the Ambassador Theater in Pasadena for CBS
to commemorate his 50th anniversary in show business, and with Bob Hope looking on, Crosby fell off the stage into an orchestra pit, rupturing a disc in his back requiring a month in the hospital. His first performance after the accident was his last American concert, on August 16, 1977 (the day singer Elvis
Presley died); when the power went out during his performance, he continued singing without amplification. In September, Crosby, his family and singer Rosemary Clooney
Rosemary Clooney
began a concert tour of Britain that included two weeks at the London Palladium. While in the UK, Crosby recorded his final album, Seasons, and his final TV Christmas special with guest David Bowie
David Bowie
on September 11 (which aired a little over a month after Crosby's death). His last concert was in the Brighton Centre
Brighton Centre
on October 10, four days before his death, with British entertainer Dame Gracie Fields
Gracie Fields
in attendance. The following day he made his final appearance in a recording studio and sang eight songs at the BBC Maida Vale studios for a radio program, which also included an interview with Alan Dell.[86] Accompanied by the Gordon Rose Orchestra, Crosby's last recorded performance was of the song "Once in a While". Later that afternoon, he met with Chris Harding to take photographs for the Seasons album jacket.[86]

Crosby's grave at Holy Cross Cemetery in Culver City, California (incorrect birth year)

On October 13, 1977, Crosby flew alone to Spain
to play golf and hunt partridge.[87] On October 14, 1977, at the La Moraleja Golf Course near Madrid, Crosby played 18 holes of golf. His partner was World Cup champion Manuel Piñero; their opponents were club president César de Zulueta and Valentín Barrios.[87] According to Barrios, Crosby was in good spirits throughout the day, and was photographed several times during the round.[87][88] At the ninth hole, construction workers building a house nearby recognized him, and when asked for a song, Crosby sang "Strangers in the Night".[87] Crosby, who had a 13 handicap, lost to his partner by one stroke.[87] As Crosby and his party headed back to the clubhouse, Crosby said, "That was a great game of golf, fellas."[87] At about 6:30 pm, Crosby collapsed about 20 yards from the clubhouse entrance and died instantly from a massive heart attack.[87] At the clubhouse and later in the ambulance, house physician Dr. Laiseca tried to revive him, but was unsuccessful. At Reina Victoria Hospital he was administered the last rites of the Catholic Church and was pronounced dead.[87] On October 18, following a private funeral Mass at St. Paul's Catholic Church in Westwood,[89] Crosby was buried at Holy Cross Cemetery in Culver City, California.[90] A plaque was placed at the golf course in his memory. Legacy[edit]

One of three stars on the Hollywood Walk of Fame
Hollywood Walk of Fame
at 6769 Hollywood Blvd.

He is a member of the National Association of Broadcasters Hall of Fame in the radio division.[91] The family launched an official website[92] on October 14, 2007, the 30th anniversary of Crosby's death. In his autobiography Don't Shoot, It's Only Me! (1990), Bob Hope wrote, "Dear old Bing. As we called him, the Economy-sized Sinatra. And what a voice. God I miss that voice. I can't even turn on the radio around Christmas time without crying anymore."[93] Calypso musician Roaring Lion
Roaring Lion
wrote a tribute song in 1939 titled " Bing Crosby", in which he wrote: " Bing has a way of singing with his very heart and soul / Which captivates the world / His millions of listeners never fail to rejoice / At his golden voice ..."[94] Bing Crosby Stadium in Front Royal, Virginia
Front Royal, Virginia
was named after Crosby in honor of his fundraising efforts and direct cash contributions for its construction in the 1948 to 1950 timeframe.[95] Compositions[edit] Crosby wrote or co-wrote lyrics to 22 songs. His composition "At Your Command" was no. 1 for three weeks on the U.S. pop singles chart beginning on August 8, 1931. "I Don't Stand a Ghost of a Chance With You" was his most successful composition, recorded by Duke Ellington, Frank Sinatra, Thelonious Monk, Billie Holiday, and Mildred Bailey, among others. Songs co-written by Crosby include:

"That's Grandma" (1927), with Harry Barris
Harry Barris
and James Cavanaugh "From Monday On" (1928), with Harry Barris
Harry Barris
and recorded with the Paul Whiteman Orchestra featuring Bix Beiderbecke
Bix Beiderbecke
on cornet, no. 14 on US pop singles charts "What Price Lyrics?" (1928), with Harry Barris
Harry Barris
and Matty Malneck "Ev'rything's Agreed Upon" (1930), with Harry Barris[96] "At Your Command" (1931), with Harry Barris
Harry Barris
and Harry Tobias, US, no. 1 (3 weeks) "Believe Me" (1931), with James Cavanaugh and Frank Weldon[96] "Where the Blue of the Night
Blue of the Night
(Meets the Gold of the Day)" (1931), with Roy Turk and Fred Ahlert, US, no. 4; US, 1940 re-recording, no. 27 "You Taught Me How to Love" (1931), with H. C. LeBlang and Don Herman[96] "I Don't Stand a Ghost of a Chance with You" (1932), with Victor Young and Ned Washington, US, no. 5 "My Woman" (1932), with Irving Wallman and Max Wartell "Cutesie Pie" (1932), with Red Standex and Chummy MacGregor[96] "I Was So Alone, Suddenly You Were There (1932), with Leigh Harline, Jack Stern and George Hamilton[96] "Love Me Tonight" (1932), with Victor Young
Victor Young
and Ned Washington, US, no. 4 "Waltzing in a Dream" (1932), with Victor Young
Victor Young
and Ned Washington, US, no.6 "You're Just a Beautiful Melody of Love" (1932), lyrics by Bing Crosby, music by Babe Goldberg "Where Are You, Girl of My Dreams?"[97] (1932), written by Bing Crosby, Irving Bibo, and Paul McVey, featured in the 1932 Universal film The Cohens and Kellys in Hollywood "I Would If I Could But I Can't" (1933), with Mitchell Parish and Alan Grey "Where the Turf Meets the Surf" (1941) with Johnny Burke and James V. Monaco. "Tenderfoot" (1953) with Bob Bowen and Perry Botkin, originally issued using the pseudonym of "Bill Brill" for Bing Crosby. "Domenica" (1961) with Pietro Garinei / Gorni Kramer
Gorni Kramer
/ Sandro Giovannini "That's What Life is All About" (1975), with Ken Barnes, Peter Dacre, and Les Reed, US, AC chart, no. 35; UK, no. 41 "Sail Away from Norway" (1977) – Crosby wrote lyrics to go with a traditional song.

Grammy Hall of Fame[edit] Four performances by Bing Crosby have been inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance".

Bing Crosby: Grammy Hall of Fame[98]

Year Recorded Title Genre Label Year Inducted Notes

1942 "White Christmas" Traditional Pop (single) Decca 1974 With the Ken Darby Singers

1944 "Swinging on a Star" Traditional Pop (single) Decca 2002 With the Williams Brothers Quartet

1936 "Pennies from Heaven" Traditional Pop (single) Decca 2004

1944 "Don't Fence Me In" Traditional Pop (single) Decca 1998 With the Andrews Sisters

Filmography[edit] Main article: Bing Crosby filmography Discography[edit] Main article: Bing Crosby discography TV appearances[edit] Main article: Bing Crosby TV appearances listing Radio[edit]

15 Minutes with Bing Crosby[99] (1931, CBS), Unsponsored. 6 nights a week, 15 minutes. The Cremo Singer (1931–1932, CBS),[100] 6 nights a week, 15 minutes. 15 Minutes with Bing Crosby
15 Minutes with Bing Crosby
(1932, CBS), initially 3 nights a week, then twice a week, 15 minutes. Chesterfield Cigarettes Presents Music that Satisfies[101] (1933, CBS), broadcast two nights a week, 15 minutes. Bing Crosby Entertains[102] (1933–1935, CBS), weekly, 30 minutes. Kraft Music Hall[103] (1935–1946, NBC), Thursday nights, 60 minutes until January 1943, then 30 minutes. Bing Crosby on Armed Forces Radio in World War II
World War II
(1941–1945; World War II).[104] Philco
Radio Time[105] (1946–1949, ABC), 30 minutes weekly. This Is Bing Crosby (The Minute Maid
Minute Maid
Show) (1948–1950, CBS), 15 minutes each weekday morning; Bing as disc jockey. The Bing Crosby – Chesterfield Show[106] (1949–1952, CBS), 30 minutes weekly. The Bing Crosby Show for General Electric[107] (1952–1954, CBS), 30 minutes weekly. The Bing Crosby Show (1954–1956)[108] (CBS), 15 minutes, 5 nights a week. A Christmas Sing with Bing (1955–1962), (CBS, VOA and AFRS), 1 hour each year, sponsored by the Insurance Company of North America. The Ford Road Show Featuring Bing Crosby[109] (1957–1958, CBS), 5 minutes, 5 days a week. The Bing Crosby – Rosemary Clooney
Rosemary Clooney
Show[110] (1960–1962, CBS), 20 minutes, 5 mornings a week, with Rosemary Clooney.

RIAA certification[edit]

Album RIAA[111]

Merry Christmas (1945) Gold

White Christmas (re-issue of album above) (1995) 4× Platinum

Bing Sings (1977) 2× Platinum

Awards and nominations[edit]

Year Award Category Project Result

1945 Academy Awards Best Actor in a Leading Role Going My Way Won

1946 Academy Awards Best Actor in a Leading Role The Bells of St. Mary's Nominated

1955 Academy Awards Best Actor in a Leading Role The Country Girl Nominated

1952 Golden Globes Best Motion Picture Actor Here Comes the Groom Nominated

1960 Golden Globes Cecil B. DeMille
Cecil B. DeMille
Award — Won

1958 Laurel Awards Golden Laurel Top Male Star — Nominated

1959 Laurel Awards Golden Laurel Top Male Star — Nominated

1960 Laurel Awards Golden Laurel Top Male Performance Say One for Me Nominated

1961 Laurel Awards Golden Laurel Top Male Star — Nominated

1962 Laurel Awards Golden Laurel Special
Award — Won

1954 National Board of Review Best Actor The Country Girl Won

1944 New York Film Critics Circle Awards Best Actor Going My Way Won

1970 Peabody Awards Personal Award — Won

1944 Photoplay Awards Most Popular Male Star — Won

1945 Photoplay Awards Most Popular Male Star — Won

1946 Photoplay Awards Most Popular Male Star — Won

1947 Photoplay Awards Most Popular Male Star — Won

1948 Photoplay Awards Most Popular Male Star — Won

1960 Hollywood Walk of Fame Radio 6769 Hollywood Blvd. Inducted

1960 Hollywood Walk of Fame Recording 6751 Hollywood Blvd. Inducted

1960 Hollywood Walk of Fame Motion Picture 1611 Vine Street. Inducted

See also[edit]

Book: Bing Crosby


^ Giddins 2001, pp. 30–31. ^ " Bing Crosby – Hollywood Star Walk". Los Angeles
Los Angeles
Times.  ^ a b Young, Larry (October 15, 1977). " Bing Crosby dies of heart attack". Spokesman-Review. p. 1.  ^ Giddins, 2001, p. 8. ^ a b Gilliland 1994, cassette 1, side B. ^ Giddins, 2001, p. 6. ^ a b Hoffman, Dr. Frank. "Crooner". Archived from the original on March 11, 2007. Retrieved December 29, 2006.  ^ Tapley, Krostopher (December 10, 2015). "Sylvester Stallone Could Join Exclusive Oscar Company with 'Creed' Nomination". Variety. Retrieved February 29, 2016.  ^ "About – Hollywood Star Walk – Los Angeles
Los Angeles
Times".  ^ " Bing Crosby – Hollywood Walk of Fame".  ^ Grudens, 2002, p. 236. " Bing was born on May 3, 1903. He always believed he was born on May 2, 1904." ^ " Bing Bio". bingcrosby.com. Retrieved February 4, 2014.  ^ Crosby had no birth certificate and his birth date was unconfirmed until his childhood Roman Catholic
Roman Catholic
church released his baptismal record. ^ Blecha, Peter (August 29, 2005). "the Free Online Encyclopedia of Washington State History". HistoryLink.org. Retrieved January 4, 2011.  ^ Gonzaga History 1980–1989 (September 17, 1986). "Gonzaga History 1980–1989 – Gonzaga University". Gonzaga.edu. Archived from the original on December 7, 2010. Retrieved January 4, 2011.  ^ Bing Crosby and Gonzaga University: 1903–1925. " Bing Crosby and Gonzaga University: 1903–1925 – Gonzaga University". Gonzaga.edu. Archived from the original on August 9, 2012. Retrieved October 15, 2012.  ^ a b " Bing Crosby ~ Timeline: Bing Crosby's Life and Career". American Masters – PBS. Archived from the original on December 1, 2014. Retrieved December 3, 2014.  ^ Giddins, Gary (2001). Bing Crosby: A Pocketful of Dreams.  ^ Macfarlane, Malcolm (2001). Bing Crosby – Day by Day. Maryland, US: The Scarecrow Press. p. 1. ISBN 0-8108-4145-2.  ^ Giddins, 2001, p. 24. ^ Newkirk, Newton (March 14, 1909). "The Bingville Bugle" (PDF). Spokesman Review. Archived from the original (PDF) on July 16, 2006. Retrieved September 25, 2010.  ^ Newkirk, Newton (July 19, 1914). "The Bingville Bugle". Spokesman Review. Retrieved September 25, 2010.  ^ Gary Giddins
Gary Giddins
(October 8, 2002). Bing Crosby: A Pocketful of Dreams – The Early Years, 1903 – 1940, Volume I. Back Bay Books.  ^ Sargent, Hilary (December 24, 2015). "#TBT: The satirical Boston newspaper column that gave Bing Crosby his name". Boston.com. Retrieved December 24, 2015.  ^ Gilliland 1994, cassette 3, side B. ^ Kershner, Jim (February 21, 2007). "Gonzaga University". HistoryLink.org. Essay 8097. Retrieved May 10, 2014.  ^ " Bing Crosby and Gonzaga University: 1903–1925". Gonzaga University, via Internet Archive. Archived from the original on April 29, 2015. Retrieved November 24, 2015.  ^ " Bing Crosby comes home to his Gonzaga". Spokane Daily Chronicle. October 21, 1937. p. 1.  ^ Giddins, 2001, pp. 92–97 ^ Early KHQ broadcast from the Davenport Hotel Spokane ^ a b Macfarlane, Malcolm (2001). Bing Crosby: Day by Day. Bingmagazine.co.uk.  ^ "Paul Whiteman's Original Rhythm Boys". Redhotjazz.com. Retrieved November 19, 2016.  ^ Macfarlane, Malcolm. " Bing Crosby – Day by Day". BING magazine. Retrieved February 18, 2016.  ^ " Bing Crosby, Singer". Radio Hall of Fame. Archived from the original on September 23, 2008. Retrieved September 2, 2010.  ^ a b c d e Bing Crosby at AllMusic ^ " Bing Crosby- Bing! His Legendary Years How's the sound? Steve Hoffman Music Forums". Forums.stevehoffman.tv. Retrieved November 19, 2016.  ^ "Pennies from Heaven (1936)". Tcm.com. Retrieved November 19, 2016.  ^ " Bing Crosby 1945 – Bing Crosby Internet Museum". Stevenlewis.info. June 18, 1945. Retrieved November 19, 2016.  ^ LIFE. Books.google.ca. June 18, 1945. p. 17. Retrieved November 19, 2016.  ^ Guinness Book
of Records 2007. Guinness. ISBN 978-1-904994-12-1.  ^ a b British Hit Singles & Albums (2005 ed.). Guinness. p. 126. ISBN 1-904994-00-8.  ^ Fisher, James (Spring 2012). " Bing Crosby: Through the Years, Volumes One–Nine (1954–56)". ARSC Journal. 43 (1).  ^ Pairpoint, Lionel. "The Chronological Bing Crosby on Television". BING magazine. Retrieved February 21, 2016.  ^ Bing Crosby: The Unsung King of Song, The New York Times, Gary Giddins, January 28, 2001. Retrieved December 3, 2014. ^ " Bing Crosby (1901?–1977)". Music Educators Journal (64 ed.) (7): 56–57. 1978.  ^ " Jack Kapp Bing Crosby Internet Museum". Stevenlewis.info. Retrieved November 19, 2016.  ^ Friedwald, Will (November 2, 2010). " A Biographical Guide to the Great Jazz
and Pop Singers. Books.google.com. ISBN 9780307379894. Retrieved November 19, 2016.  ^ Pleasants, H. (1985). The Great American Popular Singers. Simon and Schuster. ^ a b c " Bing Crosby Bing by the Numbers. His Amazing Music Records American Masters". PBS. November 25, 2014. Retrieved November 19, 2016.  ^ " Bing The Recording Star". Bing Crosby. Retrieved November 19, 2016.  ^ Macfarlane, Malcolm (2001). Bing Crosby – Day by Day. Lanham, Maryland: The Scarecrow Press, Inc. pp. 670–671. ISBN 0-8108-4145-2.  ^ "Top Ten Money Making Stars of the past 79 years". Quigley Publishing. Archived from the original on January 14, 2013. Retrieved August 17, 2011.  ^ Schmidt, Wayne. "Waynes This and That". waynesthisandthat.com. Retrieved March 31, 2016.  ^ Sforza, John: "Swing It! The Andrews Sisters
The Andrews Sisters
Story". University Press of Kentucky. 2000.[page needed] ^ "Johnny Bond – WMA Hall of Fame". Westernmusic.com. Archived from the original on September 17, 2012. Retrieved February 10, 2010.  ^ " Bing Crosby and Magnetic Recording – Engineering and Technology History Wiki". Ethw.org. Retrieved November 19, 2016.  ^ Hammar, Peter. Jack Mullin: The man and his machines. Journal of the Audio Engineering Society, 37 (6): 490–496, 498, 500, 502, 504, 506, 508, 510, 512; June 1989. ^ An afternoon with Jack Mullin. NTSC VHS tape, 1989 AES. ^ "History of Magnetic tape, section: "Enter Bing Crosby"". Archived from the original on June 3, 2004. Retrieved March 22, 2017. CS1 maint: BOT: original-url status unknown (link) ^ "CORPORATIONS: Minute Maid's Man". Time. October 18, 1948. Retrieved August 17, 2011.  ^ a b Sterling, C. H., & Kittross, J. M. (1990). Stay tuned: A concise history of American broadcasting (2nd ed.). Belmont, CA: Wadsworth. ^ Cogan, Jim; Clark, William, Temples of sound : inside the great recording studios, San Francisco : Chronicle Books, 2003. ISBN 0-8118-3394-1 ^ "Tape Recording Used by Filmless 'Camera'", New York Times, November 12, 1951, p. 21. Eric D. Daniel, C. Denis Mee, and Mark H. Clark (eds.), Magnetic Recording: The First 100 Years, IEEE Press, 1998, p. 141. ISBN 0-07-041275-8 ^ a b "KCOP Studio". Seeing Stars: the Television Studios.. Archived from the original on March 10, 2011. Retrieved March 23, 2011.  ^ Dunevant, Ronald L. " KPTV
Timeline". Yesterday's KPTV. Ronald L. Dunevant. Archived from the original on January 2, 2011. Retrieved March 23, 2011.  ^ "KXLY Celebrates Anniversary". December 16, 1977.  ^ " Spokane, Washington
Spokane, Washington
news, Spokane weather, and Washington sports - KXLY.com - KXLY". KXLY.  ^ a b c "Entrepreneur". Bing Crosby. August 15, 1949. Retrieved November 19, 2016.  ^ a b First Post: 12:30 pm (September 7, 1970). "Del Mar Horse Racing History". Dmtc.com. Retrieved November 19, 2016.  ^ [1][dead link] ^ "People, Aug. 3, 1953". Time. August 3, 1953. Retrieved January 25, 2007.  ^ Bing Crosby and Gonzaga University: 1925 – 1951 Archived February 19, 2016, at the Wayback Machine., Gonzaga University, retrieved June 6, 2011. ^ Higgins, Bill. "Throwback Thursday: Bing Crosby Took a Swing at Baseball in the 1940s," The Hollywood Reporter, July 25, 2014. ^ Sandomir, Richard (September 23, 2010). "In Bing Crosby's Wine Cellar, Vintage Baseball". The New York Times. Retrieved September 25, 2010.  ^ "When Bing Crosby came to stay". Trout Hotel Web. April 18, 2017. Retrieved May 13, 2017.  ^ 1940 US Census via Ancestry.com ^ " Bing Crosby Genealogy: Family Tree & Famous Relatives". famouskin.com.  ^ Giddins, 2001, p. 181. ^ a b Haller, Scot (March 21, 1983). "The Sad Ballad
of Bing and His Boys – Child Abuse, Kids & Family Life, Bing Crosby". People. Retrieved January 4, 2011.  ^ Gary Crosby (March 1983). Going My Own Way. Doubleday. ISBN 978-0-385-17055-0.  ^ a b c "Leah Garchik's Personals". The San Francisco Chronicle. January 20, 2004. [dead link] ^ Grudens, 2002, p. 59. ^ Dunn, Ashley (December 13, 1989). " Lindsay Crosby
Lindsay Crosby
Suicide Laid to End of Inheritance Income". Los Angeles
Los Angeles
Times. Retrieved August 17, 2011.  ^ "Philip Crosby, 69, Son of Bing Crosby". The New York Times. January 20, 2004. Retrieved November 2, 2008.  ^ Crosby v. HLC Properties, Ltd., Second District, Div. Three, Cal. App., Case No. B242089, filed January 29, 2014. ^ a b Barnes, Ken (1980). The Crosby Years. New York: Saint Martins Press. pp. 57–60. ISBN 978-0-312-17663-1.  ^ a b c d e f g h Van Beek, Greg (2001). " Bing Crosby: The Final Round". Bingang. Club Crosby (Summer 2001): 6–10. Archived from the original on May 12, 2014. Retrieved May 9, 2014.  ^ Thomas, 1977, p. 86–87. ^ Smith, Jim (October 19, 1977). "Memorial Rites Held for city favorite, Bing Crosby". The Spokesman Review. Retrieved May 9, 2014.  ^ Clooney, Rosemary. This for Remembrance: The Autobiography of Rosemary Clooney. Playboy Press. pp. 244–248. ISBN 978-0-671-16976-3.  ^ "NAB Hall of Fame". National Association of Broadcasters. Archived from the original on November 9, 2008. Retrieved May 3, 2008.  ^ "The Official Home of Bing Crosby". Bingcrosby.com. Retrieved November 2, 2008.  ^ Hope, Bob (1990). Don't Shoot, It's Only Me!. Random House Publishers.  ^ Giddins, 2001, pp. 427–428. ^ "Warren County Attractions". Retrieved September 8, 2013.  ^ a b c d e Zwisohn, Laurence J. (1978). bing Crosby – A Lifetime of Music. Los Angeles: Palm Tree Library. p. 45.  ^ U.S. Library of Congress. Catalog of Copyright Entries: Musical Compositions. Books.google.com. 1932. Retrieved November 19, 2016.  ^ Grammy Hall of Fame Database Archived July 7, 2015, at the Wayback Machine. ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ Pairpoint, Lionel. "And Here's Bing!". BING magazine. International Club Crosby. Retrieved December 24, 2015.  ^ " RIAA Searchable Database – Crosby, Bing". RIAA. Retrieved March 5, 2014. 

Sources[edit] Fisher, J. (2012). Bing crosby: Through the years, volumes one-nine (1954–56). ARSC Journal, 43(1), 127–130.

Giddins, Gary (2001). Bing Crosby: A Pocketful of Dreams: The Early Years, 1903–1940. Little, Brown and Company. ISBN 0-316-88188-0.  Gilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (audiobook). ISBN 978-1-55935-147-8. OCLC 31611854.  Grudens, Richard (2002). Bing Crosby: Crooner
of the Century. Celebrity Profiles Publishing Co. ISBN 1-57579-248-6.  Macfarlane, Malcolm (2001). Bing Crosby: Day by Day. Scarecrow Press, 2001.  Osterholm, J. Roger. Bing Crosby: A Bio-Bibliography. Greenwood Press, 1994. Prigozy, R. & Raubicheck, W., ed. Going My Way: Bing Crosby and American Culture. The Boydell Press, 2007. Thomas, Bob (1977). The One and Only Bing. Grosset & Dunlap. ISBN 0-448-14670-3. 

Further reading[edit]

Richliano, James (2002). Angels We Have Heard: The Christmas Song Stories. Chatham, New York: Star Of Bethlehem Books. ISBN 0-9718810-0-6.  Includes a chapter on Crosby's involvement in the making of "White Christmas," and an interview with record producer Ken Barnes. Thomas, Nick (2011). Raised by the Stars: Interviews with 29 Children of Hollywood Actors. McFarland. ISBN 978-0-7864-6403-6.  Includes an interview with Crosby's son, Harry, and daughter, Mary.

External links[edit]

Wikimedia Commons has media related to Bing Crosby.

Official website Bing Crosby at the TCM Movie Database BING magazine (a publication of the ICC) Bing Crosby at Virtual History Zoot Radio, free ' Bing Crosby Broadcasts' old time radio show downloads, over 360 episodes. Bing Crosby Show at Outlaws Old Time Radio Corner Bing Crosby at Find a Grave

v t e

Bing Crosby

Discography Filmography


Music of Hawaii (1939) Victor Herbert Melodies, Vol. One (1939) Patriotic Songs for Children
Patriotic Songs for Children
(1939) Cowboy Songs (1939) Victor Herbert Melodies, Vol. Two (1939) George Gershwin Songs, Vol. One (1939) Ballad
for Americans (1940) Favorite Hawaiian Songs
Favorite Hawaiian Songs
(1940) Christmas Music (1940) Star Dust (1940) Hawaii Calls (1941) Small Fry (1941) Crosbyana
(1941) Under Western Skies (1941) Song Hits from Holiday Inn
Song Hits from Holiday Inn
(w/ Fred Astaire) (1942) Merry Christmas (1945) Selections from Going My Way
Going My Way
(1945) Selections from The Bells of St. Mary's
The Bells of St. Mary's
(1946) Don't Fence Me In (1946) The Happy Prince (1946) Selections from Road to
Road to
Utopia (1946) Bing Crosby – Stephen Foster
Bing Crosby – Stephen Foster
(1946) What We So Proudly Hail
What We So Proudly Hail
(1946) Favorite Hawaiian Songs, Vol. One
Favorite Hawaiian Songs, Vol. One
(1946) Favorite Hawaiian Songs, Vol. Two
Favorite Hawaiian Songs, Vol. Two
(1946) Blue Skies (w/ Fred Astaire) (1946) Bing Crosby – Jerome Kern
Bing Crosby – Jerome Kern
(1946) St. Patrick's Day (1947) Bing Crosby – Victor Herbert
Bing Crosby – Victor Herbert
(1947) Selections from Welcome Stranger
Selections from Welcome Stranger
(1947) Our Common Heritage (1947) El Bingo (1947) The Small One (1947) The Man Without a Country (1947) Drifting and Dreaming (1947) Blue of the Night
Blue of the Night
(1948) Selections from Showboat
Selections from Showboat
(1948) The Emperor Waltz (1948) St. Valentine's Day (1948) Bing Crosby Sings with Al Jolson, Bob Hope, Dick Haymes
Dick Haymes
and the Andrews Sisters
Andrews Sisters
(1948) Selections from Road to
Road to
Rio (1948) Bing Crosby Sings with Judy Garland, Mary Martin, Johnny Mercer
Johnny Mercer
(1948) Bing Crosby Sings with Lionel Hampton, Eddie Heywood, Louis Jordan (1948) Auld Lang Syne (1948) A Connecticut Yankee in King Arthur's Court (1949) Bing Crosby Sings Songs by George Gershwin
Bing Crosby Sings Songs by George Gershwin
(1949) South Pacific (1949) Christmas Greetings (1949) Ichabod – The Legend of Sleepy Hollow
Ichabod – The Legend of Sleepy Hollow
(1949) Top o' the Morning / Emperor Waltz
Top o' the Morning / Emperor Waltz
(1949) Songs from Mr. Music
Mr. Music
(1950) Go West Young Man (1950) Le Bing: Song Hits of Paris (1953) Some Fine Old Chestnuts
Some Fine Old Chestnuts
(1954) Selections from White Christmas (1954) Bing: A Musical Autobiography (1954) High Tor (1956) A Christmas Sing with Bing Around the World (1956) High Society (w/ Frank Sinatra, Grace Kelly, and Louis Armstrong) (1956) Songs I Wish I Had Sung the First Time Around
Songs I Wish I Had Sung the First Time Around
(1956) Bing Sings Whilst Bregman Swings (1956) Bing with a Beat (1957) A Christmas Story (1957) Ali Baba and the Forty Thieves (1957) Never Be Afraid
Never Be Afraid
(1957) Jack B. Nimble – A Mother Goose Fantasy
Jack B. Nimble – A Mother Goose Fantasy
(1957) New Tricks (1957) Fancy Meeting You Here
Fancy Meeting You Here
( w/ Rosemary Clooney) (1958) How the West Was Won (1959) Bing & Satchmo (w/ Louis Armstrong) (1960) 101 Gang Songs
101 Gang Songs
(1960) Holiday in Europe
Holiday in Europe
(1960) The Road to
Road to
Hong Kong (1962) On the Happy Side
On the Happy Side
(1962) On the Sentimental Side
On the Sentimental Side
(1962) I Wish You a Merry Christmas
I Wish You a Merry Christmas
(1962) Reprise Musical Repertory Theatre
Reprise Musical Repertory Theatre
(1963) Return to Paradise Islands
Return to Paradise Islands
(1963) Bing Crosby Sings the Great Country Hits (1963) America, I Hear You Singing
America, I Hear You Singing
(w/ Frank Sinatra
Frank Sinatra
and Fred Waring) (1964) 12 Songs of Christmas (w/ Frank Sinatra
Frank Sinatra
and Fred Waring) (1964) That Travelin' Two-Beat
That Travelin' Two-Beat
(w/ Rosemary Clooney) (1965) Bing 'n' Basie (w/ Count Basie) (1972) A Couple of Song and Dance Men
A Couple of Song and Dance Men
(w/ Fred Astaire) (1975) Seasons (1977) Bing Crosby: The Voice of Christmas (1998)


Dixie Lee
Dixie Lee
(first wife) Gary Crosby (son) Dennis Crosby
Dennis Crosby
(son) Phillip Crosby
Phillip Crosby
(son) Lindsay Crosby
Lindsay Crosby
(daughter) Kathryn Crosby
Kathryn Crosby
(second wife) Harry Crosby (son) Mary Crosby (daughter) Nathaniel Crosby
Nathaniel Crosby
(son) Denise Crosby
Denise Crosby
(granddaughter) Larry Crosby (brother) Bob Crosby
Bob Crosby


Songs Bing Crosby recorded multiple times A Tribute to Bing Crosby

v t e

Bing Crosby singles



"My Blue Heaven" (with Paul Whiteman) "Ol' Man River" (with Paul Whiteman) "Mississippi Mud" (with Paul Whiteman) "Silent Night, Holy Night" (with Paul Whiteman) "Makin' Whoopee" (with Paul Whiteman) "Let's Do It" (with Dorsey Brothers) "Louise"


"Three Little Words" (with Duke Ellington) "I Surrender Dear" (with Gus Arnheim) "Just a Gigolo" "At Your Command" "Stardust" "Goodnight, Sweetheart" "Where the Blue of the Night
Blue of the Night
(Meets the Gold of the Day)" (Bing's Theme Song) "Waltzing in a Dream" "Brother, Can You Spare a Dime?" "I Don't Stand a Ghost of a Chance with You" "Temptation" "Did You Ever See a Dream Walking?" "June in January" "Love Is Just Around the Corner" "I Wished on the Moon" "It Ain't Necessarily So" "Pennies from Heaven" "Silent Night" "Adeste Fideles" "Sweet Leilani" "Blue Hawaii" "Never in a Million Years" "My Reverie" "You Must Have Been a Beautiful Baby" "God Bless America" " Ciribiribin (They're So in Love)" (w/ Andrews Sisters)


"Tumbling Tumbleweeds" "Only Forever" "Deep in the Heart of Texas" "Easter Parade" "White Christmas" "Moonlight Becomes You" "Sunday, Monday, or Always" "People Will Say We're in Love" "Oh, What a Beautiful Mornin'" "Pistol Packin' Mama" (w/ Andrews Sisters) "I'll Be Home for Christmas" "Jingle Bells" (w/ Andrews Sisters) "I Love You" "I'll Be Seeing You" "Swinging on a Star" "Is You Is or Is You Ain't My Baby" (w/ Andrews Sisters) "Amor" "Don't Fence Me In" (w/ Andrews Sisters) "You Belong to My Heart" "On the Atchison, Topeka and the Santa Fe" "If I Loved You" "It's Been a Long, Long Time" (w/ Les Paul
Les Paul
Trio) "I Can't Begin to Tell You" "The Bells of St. Mary's" "McNamara's Band" "Get Your Kicks On Route 66" (w/ Andrews Sisters) "Night and Day" "Santa Claus Is Comin' to Town" (w/ Andrews Sisters) "Ballerina" "Now Is the Hour" "But Beautiful" "Careless Hands" "Riders in the Sky" "Some Enchanted Evening" "Dear Hearts and Gentle People" "Mule Train"


"Have I Told You Lately That I Love You?" (w/ Andrews Sisters) "Chattanoogie Shoe Shine Boy" "Play a Simple Melody" (w/ Gary Crosby) "La Vie en rose" "All My Love" "Beyond the Reef" "Harbor Lights" "Rudolph the Red-Nosed Reindeer" "A Marshmallow World" "Sparrow in the Treetop" (w/ Andrews Sisters) "Gone Fishin'" (w/ Louis Armstrong) "In the Cool, Cool, Cool of the Evening" (w/ Jane Wyman) "The Isle of Innisfree" "Zing a Little Zong" (w/ Jane Wyman) "Silver Bells" (w/ Carol Richards) "Down by the Riverside" (w/ Gary Crosby) "Young at Heart" "Count Your Blessings Instead of Sheep" "Stranger in Paradise" "In a Little Spanish Town" (w/ Buddy Cole Trio) "True Love" (w/ Grace Kelly) "Now You Has Jazz" (w/ Louis Armstrong) "Well, Did You Evah!" (w/ Frank Sinatra)


"That's What Life Is All About" "Peace on Earth/Little Drummer Boy" (w/ David Bowie)

v t e

Academy Award for Best Actor


Emil Jannings
Emil Jannings
(1928) Warner Baxter
Warner Baxter
(1929) George Arliss
George Arliss
(1930) Lionel Barrymore
Lionel Barrymore
(1931) Fredric March
Fredric March
/ Wallace Beery
Wallace Beery
(1932) Charles Laughton
Charles Laughton
(1933) Clark Gable
Clark Gable
(1934) Victor McLaglen
Victor McLaglen
(1935) Paul Muni
Paul Muni
(1936) Spencer Tracy
Spencer Tracy
(1937) Spencer Tracy
Spencer Tracy
(1938) Robert Donat
Robert Donat
(1939) James Stewart
James Stewart
(1940) Gary Cooper
Gary Cooper
(1941) James Cagney
James Cagney
(1942) Paul Lukas
Paul Lukas
(1943) Bing Crosby (1944) Ray Milland
Ray Milland
(1945) Fredric March
Fredric March
(1946) Ronald Colman
Ronald Colman
(1947) Laurence Olivier
Laurence Olivier
(1948) Broderick Crawford
Broderick Crawford
(1949) José Ferrer
José Ferrer


Humphrey Bogart
Humphrey Bogart
(1951) Gary Cooper
Gary Cooper
(1952) William Holden
William Holden
(1953) Marlon Brando
Marlon Brando
(1954) Ernest Borgnine
Ernest Borgnine
(1955) Yul Brynner
Yul Brynner
(1956) Alec Guinness
Alec Guinness
(1957) David Niven
David Niven
(1958) Charlton Heston
Charlton Heston
(1959) Burt Lancaster
Burt Lancaster
(1960) Maximilian Schell
Maximilian Schell
(1961) Gregory Peck
Gregory Peck
(1962) Sidney Poitier
Sidney Poitier
(1963) Rex Harrison
Rex Harrison
(1964) Lee Marvin
Lee Marvin
(1965) Paul Scofield
Paul Scofield
(1966) Rod Steiger
Rod Steiger
(1967) Cliff Robertson
Cliff Robertson
(1968) John Wayne
John Wayne
(1969) George C. Scott1 (1970) Gene Hackman
Gene Hackman
(1971) Marlon Brando1 (1972) Jack Lemmon
Jack Lemmon
(1973) Art Carney
Art Carney
(1974) Jack Nicholson
Jack Nicholson


Peter Finch
Peter Finch
(1976) Richard Dreyfuss
Richard Dreyfuss
(1977) Jon Voight
Jon Voight
(1978) Dustin Hoffman
Dustin Hoffman
(1979) Robert De Niro
Robert De Niro
(1980) Henry Fonda
Henry Fonda
(1981) Ben Kingsley
Ben Kingsley
(1982) Robert Duvall
Robert Duvall
(1983) F. Murray Abraham
F. Murray Abraham
(1984) William Hurt
William Hurt
(1985) Paul Newman
Paul Newman
(1986) Michael Douglas
Michael Douglas
(1987) Dustin Hoffman
Dustin Hoffman
(1988) Daniel Day-Lewis
Daniel Day-Lewis
(1989) Jeremy Irons
Jeremy Irons
(1990) Anthony Hopkins
Anthony Hopkins
(1991) Al Pacino
Al Pacino
(1992) Tom Hanks
Tom Hanks
(1993) Tom Hanks
Tom Hanks
(1994) Nicolas Cage
Nicolas Cage
(1995) Geoffrey Rush
Geoffrey Rush
(1996) Jack Nicholson
Jack Nicholson
(1997) Roberto Benigni
Roberto Benigni
(1998) Kevin Spacey
Kevin Spacey
(1999) Russell Crowe
Russell Crowe


Denzel Washington
Denzel Washington
(2001) Adrien Brody
Adrien Brody
(2002) Sean Penn
Sean Penn
(2003) Jamie Foxx
Jamie Foxx
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Sean Penn
Sean Penn
(2008) Jeff Bridges
Jeff Bridges
(2009) Colin Firth
Colin Firth
(2010) Jean Dujardin
Jean Dujardin
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Matthew McConaughey
Matthew McConaughey
(2013) Eddie Redmayne
Eddie Redmayne
(2014) Leonardo DiCaprio
Leonardo DiCaprio
(2015) Casey Affleck
Casey Affleck
(2016) Gary Oldman
Gary Oldman

1 refused award that year

v t e

Cecil B. DeMille
Cecil B. DeMille

Cecil B. DeMille
Cecil B. DeMille
(1952) Walt Disney
Walt Disney
(1953) Darryl F. Zanuck
Darryl F. Zanuck
(1954) Jean Hersholt
Jean Hersholt
(1955) Jack L. Warner
Jack L. Warner
(1956) Mervyn LeRoy
Mervyn LeRoy
(1957) Buddy Adler (1958) Maurice Chevalier
Maurice Chevalier
(1959) Bing Crosby (1960) Fred Astaire
Fred Astaire
(1961) Judy Garland
Judy Garland
(1962) Bob Hope
Bob Hope
(1963) Joseph E. Levine
Joseph E. Levine
(1964) James Stewart
James Stewart
(1965) John Wayne
John Wayne
(1966) Charlton Heston
Charlton Heston
(1967) Kirk Douglas
Kirk Douglas
(1968) Gregory Peck
Gregory Peck
(1969) Joan Crawford
Joan Crawford
(1970) Frank Sinatra
Frank Sinatra
(1971) Alfred Hitchcock
Alfred Hitchcock
(1972) Samuel Goldwyn
Samuel Goldwyn
(1973) Bette Davis
Bette Davis
(1974) Hal B. Wallis
Hal B. Wallis
(1975) Walter Mirisch (1977) Red Skelton
Red Skelton
(1978) Lucille Ball
Lucille Ball
(1979) Henry Fonda
Henry Fonda
(1980) Gene Kelly
Gene Kelly
(1981) Sidney Poitier
Sidney Poitier
(1982) Laurence Olivier
Laurence Olivier
(1983) Paul Newman
Paul Newman
(1984) Elizabeth Taylor
Elizabeth Taylor
(1985) Barbara Stanwyck
Barbara Stanwyck
(1986) Anthony Quinn
Anthony Quinn
(1987) Clint Eastwood
Clint Eastwood
(1988) Doris Day
Doris Day
(1989) Audrey Hepburn
Audrey Hepburn
(1990) Jack Lemmon
Jack Lemmon
(1991) Robert Mitchum
Robert Mitchum
(1992) Lauren Bacall
Lauren Bacall
(1993) Robert Redford
Robert Redford
(1994) Sophia Loren
Sophia Loren
(1995) Sean Connery
Sean Connery
(1996) Dustin Hoffman
Dustin Hoffman
(1997) Shirley MacLaine
Shirley MacLaine
(1998) Jack Nicholson
Jack Nicholson
(1999) Barbra Streisand
Barbra Streisand
(2000) Al Pacino
Al Pacino
(2001) Harrison Ford
Harrison Ford
(2002) Gene Hackman
Gene Hackman
(2003) Michael Douglas
Michael Douglas
(2004) Robin Williams
Robin Williams
(2005) Anthony Hopkins
Anthony Hopkins
(2006) Warren Beatty
Warren Beatty
(2007) Steven Spielberg
Steven Spielberg
(2009) Martin Scorsese
Martin Scorsese
(2010) Robert De Niro
Robert De Niro
(2011) Morgan Freeman
Morgan Freeman
(2012) Jodie Foster
Jodie Foster
(2013) Woody Allen
Woody Allen
(2014) George Clooney
George Clooney
(2015) Denzel Washington
Denzel Washington
(2016) Meryl Streep
Meryl Streep
(2017) Oprah Winfrey
Oprah Winfrey

v t e

National Board of Review Award for Best Actor

Ray Milland
Ray Milland
(1945) Laurence Olivier
Laurence Olivier
(1946) Michael Redgrave
Michael Redgrave
(1947) Walter Huston
Walter Huston
(1948) Ralph Richardson
Ralph Richardson
(1949) Alec Guinness
Alec Guinness
(1950) Richard Basehart
Richard Basehart
(1951) Ralph Richardson
Ralph Richardson
(1952) James Mason
James Mason
(1953) Bing Crosby (1954) Ernest Borgnine
Ernest Borgnine
(1955) Yul Brynner
Yul Brynner
(1956) Alec Guinness
Alec Guinness
(1957) Spencer Tracy
Spencer Tracy
(1958) Victor Sjöström
Victor Sjöström
(1959) Robert Mitchum
Robert Mitchum
(1960) Albert Finney
Albert Finney
(1961) Jason Robards
Jason Robards
(1962) Rex Harrison
Rex Harrison
(1963) Anthony Quinn
Anthony Quinn
(1964) Lee Marvin
Lee Marvin
(1965) Paul Scofield
Paul Scofield
(1966) Peter Finch
Peter Finch
(1967) Cliff Robertson
Cliff Robertson
(1968) Peter O'Toole
Peter O'Toole
(1969) George C. Scott
George C. Scott
(1970) Gene Hackman
Gene Hackman
(1971) Peter O'Toole
Peter O'Toole
(1972) Al Pacino
Al Pacino
/ Robert Ryan
Robert Ryan
(1973) Gene Hackman
Gene Hackman
(1974) Jack Nicholson
Jack Nicholson
(1975) David Carradine
David Carradine
(1976) John Travolta
John Travolta
(1977) Jon Voight
Jon Voight
/ Laurence Olivier
Laurence Olivier
(1978) Peter Sellers
Peter Sellers
(1979) Robert De Niro
Robert De Niro
(1980) Henry Fonda
Henry Fonda
(1981) Ben Kingsley
Ben Kingsley
(1982) Tom Conti
Tom Conti
(1983) Victor Banerjee
Victor Banerjee
(1984) William Hurt
William Hurt
/ Raúl Juliá
Raúl Juliá
(1985) Paul Newman
Paul Newman
(1986) Michael Douglas
Michael Douglas
(1987) Gene Hackman
Gene Hackman
(1988) Morgan Freeman
Morgan Freeman
(1989) Robert De Niro
Robert De Niro
/ Robin Williams
Robin Williams
(1990) Warren Beatty
Warren Beatty
(1991) Jack Lemmon
Jack Lemmon
(1992) Anthony Hopkins
Anthony Hopkins
(1993) Tom Hanks
Tom Hanks
(1994) Nicolas Cage
Nicolas Cage
(1995) Tom Cruise
Tom Cruise
(1996) Jack Nicholson
Jack Nicholson
(1997) Ian McKellen
Ian McKellen
(1998) Russell Crowe
Russell Crowe
(1999) Javier Bardem
Javier Bardem
(2000) Billy Bob Thornton
Billy Bob Thornton
(2001) Campbell Scott
Campbell Scott
(2002) Sean Penn
Sean Penn
(2003) Jamie Foxx
Jamie Foxx
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) George Clooney
George Clooney
(2007) Clint Eastwood
Clint Eastwood
(2008) George Clooney
George Clooney
/ Morgan Freeman
Morgan Freeman
(2009) Jesse Eisenberg
Jesse Eisenberg
(2010) George Clooney
George Clooney
(2011) Bradley Cooper
Bradley Cooper
(2012) Bruce Dern
Bruce Dern
(2013) Michael Keaton
Michael Keaton
/ Oscar Isaac
Oscar Isaac
(2014) Matt Damon
Matt Damon
(2015) Casey Affleck
Casey Affleck
(2016) Tom Hanks
Tom Hanks

Authority control

WorldCat Identities VIAF: 12394764 LCCN: n50018853 ISNI: 0000 0001 0870 6364 GND: 118677411 SELIBR: 214275 SUDOC: 033192588 BNF: cb124083942 (data) BIBSYS: 90880954 MusicBrainz: 2437980f-513a-44fc-80f1-b90d9d7fcf8f NLA: 35949850 NKC: ola2002157336 BNE: XX875525 SN