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Leo Robin
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Key Information
Leo Robin (April 6, 1895 – December 29, 1984)[1] was an American composer, lyricist and songwriter. He is probably best known for collaborating with Ralph Rainger on the 1938 Oscar-winning song "Thanks for the Memory," sung by Bob Hope and Shirley Ross in the film The Big Broadcast of 1938, and with Jule Styne on "Diamonds Are a Girl's Best Friend".
Biography
[edit]Robin was born in Pittsburgh, Pennsylvania, United States.[2] His father was Max Robin, a salesman. Leo's mother was Fannie Finkelpearl Robin. He studied at the University of Pittsburgh School of Law and at Carnegie Tech's drama school. He later worked as a reporter and as a publicist.
Robin's first hits came in 1926 with the Broadway production By the Way, with hits in several other musicals immediately following, such as Bubbling Over (1926), Hit the Deck, Judy (1927), and Hello Yourself (1928).[2][1] In 1932, Robin went out to Hollywood to work for Paramount Pictures.[2] His principal collaborator was composer Ralph Rainger,[2] together they became one of the leading film songwriting duos of the 1930s and early 1940s, writing over 50 hits. Robin and Rainger worked together until Rainger's death in a plane crash on October 23, 1942. Robin continued to collaborate with many other composers over the years, including Harold Arlen, Vincent Youmans, Sam Coslow, Richard A. Whiting, Jule Styne, Harry Warren and Nacio Herb Brown. Leo Robin collaborated with Rainger on the 1938 Oscar-winning song "Thanks for the Memory," sung by Bob Hope in the film The Big Broadcast of 1938,[2] which was to become Hope's signature tune.[3] Robin and Styne wrote the 1949 score for Gentlemen Prefer Blondes, including "Diamonds Are a Girl's Best Friend",[2] a signature song for Carol Channing and later Marilyn Monroe.
Robin collaborated on the score for the 1955 musical film My Sister Eileen with Styne, then officially retired from the movie industry. He is a member of the Songwriters Hall of Fame, having been inducted in 1972. Robin wrote many popular songs, mostly for film and television, including "Louise," "Beyond the Blue Horizon" (both songs co-written by Richard A. Whiting), "Prisoner of Love" and "Blue Hawaii".[2]
Death
[edit]Robin died of heart failure in Woodland Hills, California at the age of 89,[1] and was interred in the Hillside Memorial Park Cemetery in Culver City, California.
Work on Broadway
[edit]- Hit the Deck (1927), musical - co-lyricist
- Allez-oop (1927), revue - lyricist
- Just Fancy (1927), musical - lyricist
- Hello Yourself (1928), musical - lyricist
- Tattle Tales (1933), revue - contributing lyricist
- Gentlemen Prefer Blondes (1949), musical - lyricist
- The Girl in Pink Tights (1954), musical - lyricist
- Lorelei (Gentlemen Still Prefer Blondes) (1974), musical - lyricist
Posthumous credits or shows in which pre-written songs by Leo Robin were featured include:
- Maurice Chevalier in an evening of Songs and Impressions (1955), concert
- The American Dance Machine (1978), dance special
- A Day in Hollywood / A Night in the Ukraine (1980), revue - lyricist for "Louise", "Beyond the Blue Horizon", "Double Trouble", and "Thanks for the Memory"
- Big Deal (1986), musical - lyricist for "Love Is Just around the Corner"
- Gentlemen Prefer Blondes (1995 revival)
- Fosse (1999), revue - lyricist for "Got No Room for Mr. Gloom"
See also
[edit]- Uncle Sam Gets Around, 1941 song
References
[edit]- ^ a b c "Leo Robin | Songwriters Hall of Fame". Songhall.org. Retrieved October 7, 2021.
- ^ a b c d e f g Colin Larkin, ed. (1992). The Guinness Encyclopedia of Popular Music (First ed.). Guinness Publishing. p. 2107. ISBN 0-85112-939-0.
- ^ "Leo Robin", Michael Feinstein's Great American Songbook.
External links
[edit]- Leo Robin at the Songwriters Hall of Fame
- Leo Robin at the Official Leo Robin Website
- Leo Robin at the Internet Broadway Database
- Leo Robin at IMDb
- Leo Robin recordings at the Discography of American Historical Recordings
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Leo Robin
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Early Life
Birth and Family Background
Leo Robin was born on April 6, 1895, in Pittsburgh, Pennsylvania, to Jewish parents, his mother having immigrated from the Russian Empire. His mother, Fannie Finkelpearl Robin, was born in 1872 in Chisinau (now the capital of Moldova), a city then part of the Russian Empire, reflecting the wave of Eastern European Jewish migration to the United States in the late 19th century.[5][6] Robin's father, Max Robin, worked as an insurance salesman, supporting the family in Pittsburgh's growing industrial economy, where many Jewish immigrants engaged in commerce and trade to establish modest livelihoods amid the city's rapid urbanization and steel-driven prosperity. As the eldest of seven children in a close-knit household, Robin often shouldered responsibilities early on, helping with family finances through odd jobs, which instilled a strong work ethic in the context of early 20th-century Pittsburgh's socioeconomic challenges, including labor-intensive immigrant communities facing poverty and cultural adaptation.[1][7] Young Leo was exposed to the lively entertainment world of Pittsburgh, a hub for vaudeville in the early 1900s with venues like the Gayety Theater hosting touring acts and fostering a vibrant cultural scene that blended immigrant influences with American popular arts. These experiences in Pittsburgh's diverse, theater-rich environment—bolstered by a significant Jewish population that contributed to its artistic and mercantile fabric—sparked Robin's early fascination with storytelling, performance, and creative expression.[1][8]Education and Initial Aspirations
Robin enrolled in the University of Pittsburgh School of Law in 1915 at the urging of his father, Max, but departed after one year to follow his burgeoning interest in writing.[1] This decision marked an early pivot away from a legal career toward creative pursuits, reflecting his growing dissatisfaction with structured professions and his pull toward expressive fields.[1] Subsequently, in 1917, he began studying drama at the night school of Carnegie Institute of Technology, where theatrical training deepened his fascination with performance and storytelling.[1] To support himself, Robin took on varied roles in Pittsburgh, starting as a cub reporter for the Pittsburgh Chronicle-Telegraph in 1916, where he penned an "Advice to the Lovelorn" column that honed his skills in concise, empathetic prose.[1] He later served as a social worker with Big Brothers, an organization aiding wayward boys, and composed short plays for the group as therapeutic tools, blending his emerging dramatic interests with social service.[1] These positions, along with stints as a publicity agent for local endeavors, provided practical experience in communication and promotion while underscoring his diverse early explorations beyond law.[3] By the early 1920s, after several years as an advertising copywriter at Blaw-Knox Steel—a role secured through a family acquaintance that offered financial stability—Robin relocated to New York City.[1] Drawn by the city's vibrant theater scene and his ambition to establish himself as a playwright, he settled in Greenwich Village, leveraging a letter of introduction from a Carnegie professor to connect with influential figures like George S. Kaufman.[1] This move, supported by his Pittsburgh family's encouragement to chase artistic dreams, positioned him at the threshold of the entertainment world, though his initial aims leaned toward dramatic writing and criticism rather than immediate songwriting success.[3]Professional Career
Entry into Entertainment
After attending the University of Pittsburgh Law School for one year in 1915 and studying drama at Carnegie Tech in night school starting in 1917, though without completing a degree in either, Leo Robin moved to New York City in the early 1920s with aspirations in drama and playwriting, settling in the bohemian enclave of Greenwich Village.[1] To support himself financially, he took on various jobs, including as a newspaper reporter, social worker, and copywriter for advertising agencies, while beginning to freelance song lyrics on the side.[1][3] This period marked his gradual shift from journalism and publicity work to the creative demands of entertainment, influenced by chance encounters with industry figures like George S. Kaufman and Lew Gensler, who encouraged his lyric-writing efforts.[1] Robin's first professional songwriting credits emerged in the mid-1920s, as he contributed lyrics to several revues and musicals. One early success was "Looking Around," co-written with composer Richard Myers and featured in the 1925 Broadway revue By the Way.[4] That same year, he provided lyrics for "Whistle Away Your Blues" in The Greenwich Village Follies of 1925, a production that highlighted emerging talents in the city's vibrant revue scene.[1] Additional credits included "My Cutie's Due at Two-to-Two Today," set to music by Albert Von Tilzer and published in 1926, signaling his growing presence in Tin Pan Alley's competitive landscape.[1] During these formative years, Robin developed a distinctive lyrical style characterized by wit, sophistication, and keen observations of urban life and social dynamics, often infusing humor and commentary into character-driven songs suitable for revues.[3] His work drew from the bustling energy of New York, blending playful rhythms with insightful portrayals of city dwellers, which set the foundation for his later Broadway contributions.[4] Robin faced significant challenges in breaking into the industry, including persistent financial instability that required him to juggle multiple odd jobs and frequent rejections from music publishers skeptical of his novice status.[1] These setbacks fueled his determination, leading him to persist through writing sketches for vaudeville acts and refining his craft amid the era's economic pressures and cutthroat competition.[3] Despite the hurdles, this resilience helped him secure initial footholds in New York's entertainment circles by the late 1920s.[1]Broadway Contributions
Leo Robin's major Broadway debut came in 1927 with the musical Hit the Deck, where he served as co-lyricist alongside Clifford Grey, with music by Vincent Youmans. The show, a nautical comedy that ran for 352 performances, featured Robin's contributions to songs such as "Sometimes I'm Happy" and "Hallelujah," which became enduring standards and helped establish his reputation for blending humor with melodic sophistication.[9] That same year, Robin contributed lyrics to several other productions, including the revue Allez-Oop, the romantic musical Just Fancy, as well as Judy, showcasing his versatility in the fast-paced world of 1920s musical theater.[1] Throughout the late 1920s and 1930s, Robin continued to build his Broadway portfolio with works like the 1928 musical comedy Hello Yourself!!!! and contributions to revues such as Shoot the Works (1931) and Tattle Tales (1933), where he interpolated clever songs that highlighted emerging talents and captured the era's revue style of sketch comedy and topical satire. In Tattle Tales, for instance, his lyrics for "I'll Take an Option on You," composed by Ralph Rainger, added a layer of witty romantic banter to the proceedings. These efforts demonstrated Robin's skill in crafting adaptable, character-specific lines that fit the revue format's demand for quick, memorable numbers without overshadowing the performers.[10] Robin returned to Broadway after a period focused on Hollywood, achieving one of his greatest triumphs with Gentlemen Prefer Blondes in 1949, for which he wrote the lyrics to Jule Styne's music, including the iconic "Diamonds Are a Girl's Best Friend," performed by Carol Channing.[4] The musical, based on Anita Loos's novel, ran for 740 performances and exemplified Robin's ability to infuse sophisticated humor into character-driven narratives, with lyrics that propelled the plot through Lorelei Lee's materialistic charm.[11] His final major Broadway contribution was The Girl in Pink Tights (1954), a musical tribute to the Ziegfeld Follies with music completed posthumously by Sigmund Romberg, where Robin's lyrics enhanced the show's nostalgic ballet-themed vignettes.[1] Robin's Broadway lyrics were renowned for their clever wordplay, warmth, and integration into character psychology, advancing plot and humor in ways that influenced the transition from revue-style entertainment to more integrated book musicals during the 1920s through 1950s.[1] By prioritizing witty, context-specific rhymes over generic sentiment, he helped shape trends in musical theater, making songs serve the story's emotional and comedic arcs rather than standing alone as isolated hits.[10]Hollywood Transition and Film Work
In 1932, Leo Robin relocated to Hollywood to join Paramount Pictures as a contract lyricist, marking his full transition from Broadway to the burgeoning film industry.[12] Paired primarily with composer Ralph Rainger, he quickly became a key figure in crafting songs for early sound films, leveraging his established wit and sophistication from stage work to suit cinematic demands.[3] This partnership produced some of the era's most memorable standards, tailored to enhance narrative flow rather than standalone performances. Robin's film contributions included lyrics for the early talkie Close Harmony (1929), an RKO production where he collaborated with Richard A. Whiting on songs like "I Wanna Go Places and Do Things" and "She's So, I Dunno," capturing the exuberance of vaudeville-infused musicals. At Paramount, his work with Rainger shone in The Big Broadcast of 1938 (1937), featuring the Oscar-winning "Thanks for the Memory," performed by Bob Hope and Shirley Ross, which became a signature tune for the studio's revue-style extravaganzas.[13] Other notable efforts included songs for Little Miss Marker (1934) and the animated Gulliver's Travels (1939), where "Faithful Forever" earned another Academy Award nomination.[1] Over the 1930s and into the mid-1940s, Robin contributed lyrics to more than 50 songs across Paramount, RKO, and later 20th Century Fox, often customized for stars like Bing Crosby, whose smooth delivery amplified hits such as "Please" from The Big Broadcast of 1932.[10] Adapting to screen constraints, he shifted from expansive stage numbers to concise pieces—typically under three minutes—that synchronized with dialogue and visuals, prioritizing character-driven emotion over spectacle, as seen in his script-integrated ballads for Crosby vehicles.[13] This prolific output, blending his Broadway-honed elegance with Hollywood's commercial pace, solidified his role in defining the golden age of film musicals.[1]Later Projects and Retirement
In the early 1950s, Leo Robin returned to Broadway with contributions to the musical The Girl in Pink Tights (1954), where he provided lyrics for the posthumously completed music of Sigmund Romberg in a production starring Jeanmaire, though it ran for only 215 performances.[1] His involvement marked a continuation of his stage work amid shifting entertainment landscapes, but it was followed by his final major film project, the 1955 musical adaptation of My Sister Eileen. For this Columbia Pictures production, directed by Richard Quine and starring Janet Leigh, Betty Garrett, and Jack Lemmon, Robin wrote the lyrics to Styne's music, creating songs such as "Give Me a Band and My Baby" and "There's Nothing Like Love," which infused the comedy about two sisters in New York with fresh energy.[3][10] Following the completion of My Sister Eileen, Robin largely withdrew from active songwriting for major productions, with his last credited film work occurring in 1955.[3] He made a minor foray into television with lyrics for the 1957 NBC Producers' Showcase special Ruggles of Red Gap, again partnering with Styne on a musical adaptation of the classic story, featuring Jane Powell, Peter Lawford, and Michael Redgrave.[1][14] Robin's decision to retire from the industry around this time aligned with the end of his prolific output in film and Broadway, though specific motivations such as personal choice or evolving trends are not detailed in contemporary accounts. In the years after, he engaged in occasional consulting and limited creative endeavors, emerging briefly from retirement for the 1974 Broadway revival Lorelei, a sequel to Gentlemen Prefer Blondes with updated lyrics by Robin and Styne, which starred Carol Channing and ran for 320 performances.[1][15] He also revised "Thanks for the Memory" for Frank Sinatra's 1981 album and television special, and participated in a 1982 tribute concert An Evening with Leo Robin at the 92nd Street Y in New York.[1] These sporadic activities underscored his enduring connection to his catalog, but no new major public works followed.Notable Works and Collaborations
Key Composer Partnerships
Leo Robin's most enduring collaborations were with composers who shaped his lyric-writing across Broadway and Hollywood, allowing him to craft words that enhanced melodic structures with wit, narrative depth, and adaptability to various genres. His primary partnership in the 1930s was with Ralph Rainger, with whom he co-wrote numerous songs for Paramount Pictures films, blending jazz-inflected pop melodies with evocative, story-driven lyrics that captured the era's glamour and romance.[3][16] Robin and Rainger's collaboration, which began around 1930 and lasted until Rainger's death in 1942, produced hits such as "Thanks for the Memory" from the 1938 film Big Broadcast of 1938, which earned an Academy Award for Best Original Song, and "June in January" from Here Is My Heart (1934), showcasing Robin's ability to infuse seasonal imagery with emotional intimacy to complement Rainger's lush orchestrations.[3][13] Their work extended to over a dozen films, including She Done Him Wrong (1933) and Waikiki Wedding (1937), where songs like "Blue Hawaii" highlighted Robin's knack for tropical escapism paired with Rainger's rhythmic, film-ready tunes, influencing the transition of Broadway styles to cinematic soundtracks.[3][16] In the 1940s and 1950s, Robin partnered with Jule Styne for Broadway-focused projects, emphasizing sophisticated ballads and comedic numbers that elevated character-driven narratives. Their most notable collaboration was the 1949 musical Gentlemen Prefer Blondes, where Robin's sly, materialistic lyrics for songs like "Diamonds Are a Girl's Best Friend" meshed with Styne's upbeat, theatrical melodies to create iconic showstoppers that satirized high society while remaining broadly appealing.[17][3] This partnership continued into film with My Sister Eileen (1955), where their contributions added urban wit to the score, demonstrating Robin's evolution toward more layered, dialogue-infused lyrics that supported Styne's versatile Broadway idiom.[3][18] Earlier in his career, Robin worked with Vincent Youmans on the 1927 Broadway musical Hit the Deck, co-writing lyrics with Clifford Grey for nautical-themed songs that infused lighthearted romance into Youmans' syncopated jazz scores, helping establish Robin's early reputation for playful, scene-specific versification.[19][20] In Hollywood, he teamed with Harry Warren for the 1943 film The Gang's All Here, producing vibrant Latin-tinged numbers like "The Lady in the Tutti-Frutti Hat," where Robin's exotic, rhythmic wordplay amplified Warren's energetic compositions to suit the film's Busby Berkeley-style spectacle.[21][22] Robin's initial hits came from his partnership with Richard A. Whiting in the late 1920s, yielding songs such as "Louise" (1929, from Innocents of Paris) and "Beyond the Blue Horizon" (1930, from Monte Carlo), which paired Whiting's sweeping, optimistic melodies with Robin's poetic, horizon-gazing lyrics to evoke wanderlust and tenderness in early talkies.[23][24] Throughout these alliances, Robin excelled at delivering adaptable, narrative-driven lyrics that molded to composers' melodies, often prioritizing emotional storytelling and rhythmic precision to enhance dramatic contexts, from intimate ballads to exuberant production numbers, without overshadowing the musical foundation.[16][3]Iconic Songs and Productions
Leo Robin's songwriting catalog includes numerous enduring standards that bridged Broadway and Hollywood, often capturing themes of romance, nostalgia, and whimsy while elevating the productions in which they appeared. One of his most celebrated works, "Thanks for the Memory," debuted in the 1938 Paramount film The Big Broadcast of 1938, where it was performed as a duet by Bob Hope and Shirley Ross, marking Hope's film debut and becoming his lifelong signature tune with its poignant reflections on parting and fond recollections.[13] The song's versatile structure allowed for countless ad-libbed verses tailored to Hope's monologues in his radio and film career, contributing to its status as a cultural touchstone for bittersweet farewells. Another landmark composition, "Diamonds Are a Girl's Best Friend," premiered in the 1949 Broadway musical Gentlemen Prefer Blondes with music by Jule Styne, introduced by Carol Channing as the gold-digging Lorelei Lee, offering a satirical commentary on materialism and gender dynamics in high society. Its iconic 1953 film adaptation, featuring Marilyn Monroe's glamorous pink-dress performance surrounded by male admirers, amplified its fame, transforming it into a symbol of feminine allure and consumerist excess that has influenced fashion, advertising, and feminist discourse ever since.[13] The number's enduring appeal is evident in revivals, such as the 1974 Broadway restaging and covers by artists like Nicole Kidman in Moulin Rouge! (2001), which highlighted its theatrical spectacle. "Prisoner of Love," penned in 1931 with music by Russ Columbo and Clarence Gaskill, was first recorded by Columbo and gained popularity through his performances in the early 1930s, portraying the torment of unrequited passion in a smooth, crooner style that resonated during the swing era. The song's emotional depth made it a jazz staple, with notable covers by Perry Como reaching number one in 1946 and James Brown's soulful rendition in the 1962 album Showtime, underscoring its adaptability across genres and its role in defining romantic balladry.[13] "Blue Hawaii," co-written with Ralph Rainger in 1937 and introduced by Bing Crosby in the film Waikiki Wedding, evoked tropical escapism with its lilting melody and lyrics celebrating island romance, becoming an immediate hit that popularized Hawaiian-themed music in American pop culture. Its revival in Elvis Presley's 1961 film Blue Hawaii—which grossed over $5 million and topped album charts—further cemented its legacy, inspiring a surge in tiki culture and covers by artists like Frank Sinatra, while highlighting Robin's knack for scenic, feel-good escapism.[13] Robin's broader oeuvre features other major hits that similarly defined their debuts and endured through revivals and reinterpretations. Key examples include:- "Hallelujah" (1927, music by Vincent Youmans, from the Broadway revue Hit the Deck), a jubilant opener that propelled the show's success with its infectious rhythm, later covered by artists like Fats Waller.
- "Sometimes I'm Happy" (1927, also from Hit the Deck), a playful toggle between moods that became a vaudeville favorite and jazz standard, enhancing the production's lighthearted energy.
- "Louise" (1929, music by Richard A. Whiting, from Innocents of Paris), Maurice Chevalier's breakout Hollywood hit that introduced continental charm to American audiences.[1]
- "Beyond the Blue Horizon" (1930, music by Whiting, from Monte Carlo), a dreamy travelogue anthem sung by Jeanette MacDonald, evoking wanderlust and becoming a radio staple.
- "Please" (1932, music by Rainger, from The Big Broadcast), Bing Crosby's first number-one hit, injecting pleading romance into the revue film's ensemble format.[25]
- "Love Is Just Around the Corner" (1934, music by Rainger, from Here Is My Heart), Crosby's optimistic duet that boosted the film's romantic comedy appeal.
- "June in January" (1934, music by Rainger, also from Here Is My Heart), a seasonal twist on love that charted high for Crosby and reinforced winter romance tropes.[25]
- "If I Should Lose You" (1936, music by Rainger, from Rose of the Rancho), a melancholic ballad that entered jazz repertoires via performers like Billie Holiday.
- "Easy Living" (1937, music by Rainger, from the film Easy Living), a breezy ode to luxury that captured screwball comedy's exuberance and became a lounge standard.
- "Animal Crackers in My Soup" (1935, music by Rainger, from Curly Top), Shirley Temple's playful ditty that amplified her child-star persona and the film's box-office triumph.