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The incomparable Fred Astaire lets loose before making a unique exit in the 1950 musical “Let’s Dance”. It was the first and only time he was paired with co-star Betty Hutton. 🕺🌟

🌸🎵 Beautiful Melody 🎶💖

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Fred Astaire performing the celebrated “Piano Dance” in which he jaunts ― on ― in ― above ― and ― under ― a grand piano, culminating in a series of effortless suspensions over a succession of high-back chairs. From the musical romantic comedy-drama film, Let's Dance (1950).

Fred Astaire performing the celebrated “Piano Dance” in which he jaunts ― on ― in ― above ― and ― under ― a grand piano, culminating in a series of effortless suspensions over a succession of high-back chairs. From the musical romantic comedy-drama film, Let's Dance (1950).

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In Broadway Melody of 1940, the incomparable Fred Astaire teamed up with powerhouse tap sensation Eleanor Powell — and what followed was pure cinematic brilliance. Astaire was already considered the smoothest dancer in Hollywood. But even he later admitted that Eleanor Powell was one of the only dancers who truly challenged him on screen. Their legendary “Begin the Beguine” finale isn’t just a dance number — it’s a duel of elegance and precision.

In Broadway Melody of 1940, the incomparable Fred Astaire teamed up with powerhouse tap sensation Eleanor Powell — and what followed was pure cinematic brilliance. Astaire was already considered the smoothest dancer in Hollywood. But even he later admitted that Eleanor Powell was one of the only dancers who truly challenged him on screen. Their legendary “Begin the Beguine” finale isn’t just a dance number — it’s a duel of elegance and precision.

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Gene Kelly and Fred Astaire perform a segment of “The Babbitt and the Bromide” in the 1945 musical revue film “Ziegfeld Follies”. It is one of only two films in which Kelly and Astaire dance together; the other being a short number in “That’s Entertainment, Part II” (1976).

Gene Kelly and Fred Astaire perform a segment of “The Babbitt and the Bromide” in the 1945 musical revue film “Ziegfeld Follies”. It is one of only two films in which Kelly and Astaire dance together; the other being a short number in “That’s Entertainment, Part II” (1976).

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The one and only Fred Astaire was born on this day in 1899!

The one and only Fred Astaire was born on this day in 1899!

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Fred Astaire performs “Drum Crazy” in the classic musical “Easter Parade” (1948)💞 Gene Kelly was originally cast opposite Garland, but broke his ankle. The part was then offered to Astaire, who had retired two years earlier. Very eager to work again, Astaire consulted Kelly about the offer, and Kelly supported his decision to take the role. Garland and Astaire were a successful team, and Astaire was restored to his status as a top MGM star. A critical and commercial success, “Easter Parade” was the highest-grossing musical film of 1948, and the second-highest grossing MGM musical of the 1940s, after “Meet Me in St. Louis.”

Fred Astaire performs “Drum Crazy” in the classic musical “Easter Parade” (1948)💞 Gene Kelly was originally cast opposite Garland, but broke his ankle. The part was then offered to Astaire, who had retired two years earlier. Very eager to work again, Astaire consulted Kelly about the offer, and Kelly supported his decision to take the role. Garland and Astaire were a successful team, and Astaire was restored to his status as a top MGM star. A critical and commercial success, “Easter Parade” was the highest-grossing musical film of 1948, and the second-highest grossing MGM musical of the 1940s, after “Meet Me in St. Louis.”

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Fred Astaire brings in the New Year with his “drunk” dance in the 1942 musical “Holiday Inn”. His very patient partner is Marjorie Reynolds. Astaire wrote about shooting this scene in his autobiography, saying: “I had to look plenty drunk in that bit and figured there was only one good way to do it. Yes, you’re right. I took two stiff hookers of bourbon before the first take and one before each succeeding take. I had to fall down on my face and be carried out for the finish. It was hot on that stage, too! All in all we did it seven times. The last one was the best.”

Fred Astaire brings in the New Year with his “drunk” dance in the 1942 musical “Holiday Inn”. His very patient partner is Marjorie Reynolds. Astaire wrote about shooting this scene in his autobiography, saying: “I had to look plenty drunk in that bit and figured there was only one good way to do it. Yes, you’re right. I took two stiff hookers of bourbon before the first take and one before each succeeding take. I had to fall down on my face and be carried out for the finish. It was hot on that stage, too! All in all we did it seven times. The last one was the best.”

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Fabulous, sexy, and strong Cyd Charisse and the athletic grace of Fred Astaire meet in a jazzy hot number in "The Band Wagon" (1953) Who was your favorite dance pair?

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Rita Hayworth as Maria Acuña and Fred Astaire as Bob Davis performing the song and dance sequence in the 1942 musical romantic comedy film “You Were Never Lovelier” to the song “I'm Old Fashioned”: A Kern melody, with Hayworth lip-synching Mercer’s lyrics, inspires Astaire’s second Latin romantic partnered dance, and one of his best known. This dance was chosen by Jerome Robbins as the centerpiece to his ballet of the same name, created by him for the New York City Ballet in 1983, as a tribute to Astaire.

Rita Hayworth as Maria Acuña and Fred Astaire as Bob Davis performing the song and dance sequence in the 1942 musical romantic comedy film “You Were Never Lovelier” to the song “I'm Old Fashioned”: A Kern melody, with Hayworth lip-synching Mercer’s lyrics, inspires Astaire’s second Latin romantic partnered dance, and one of his best known. This dance was chosen by Jerome Robbins as the centerpiece to his ballet of the same name, created by him for the New York City Ballet in 1983, as a tribute to Astaire.

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Fred Astaire and Ginger Rogers show us how it is done in this great rollerskating number from 1937’s “Shall We Dance”. The song is the Gershwin tune “Let’s Call the Whole Thing Off”.

Fred Astaire and Ginger Rogers show us how it is done in this great rollerskating number from 1937’s “Shall We Dance”. The song is the Gershwin tune “Let’s Call the Whole Thing Off”.

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Tom Holland reveals on the ‘Good Hang with Amy Poehler’ podcast that he did his first dance rehearsal for the Fred Astaire biopic last week and that the film begins shooting next year!

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the FIRST and ONLY time he ever went, he was the youngest co-chair. 7 years have passed and it still remains the most iconic met gala debut of all time

the FIRST and ONLY time he ever went, he was the youngest co-chair. 7 years have passed and it still remains the most iconic met gala debut of all time

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The first time i listened to Before The Goodbye i was so gagged. I thought it was just a simple ballad and then it turned into a dance song

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Debbie Reynolds on how Fred Astaire helped her when she thought of giving up during the filming of "Singin' in the Rain" (1952): "I’ve never worked so hard. I was dancing for eight hours a day. Making 'Singin’ in the Rain' (1952) and childbirth were the two hardest things I’ve ever done. The movie was actually harder, because it hurt me everywhere, most of all my brain and my feet. My father had raised me never to start a job unless I planned on finishing it, and I was determined to do my damnedest. The word quit was not in my vocabulary. Still, Daddy had never been in a musical film. One day I crumpled in a heap under the rehearsal piano, crying. Fred Astaire came to my rescue. He asked me why I was crying, and I told him the dancing was so hard, I thought I was going to die. “You’re not going to die,” he said. “That’s what it’s like to learn to dance. If you’re not sweating, you’re not doing it right.” He took me to the studio where he was rehearsing with Hermes Pan, another great MGM choreographer. I watched in awe as Fred worked on his routines to the point of frustration and anger. I realized that if it was hard for Fred Astaire, dancing was hard for everyone. No one ever made it look easier. His kind gesture helped me a great deal." ("Unsinkable: A Memoir", Debbie Reynolds and Dorian Hannaway, 2012) P.S: On this day, 74 years ago, "Singin' in the Rain" (1952) premiered in Miami, Florida, USA.

Debbie Reynolds on how Fred Astaire helped her when she thought of giving up during the filming of "Singin' in the Rain" (1952): "I’ve never worked so hard. I was dancing for eight hours a day. Making 'Singin’ in the Rain' (1952) and childbirth were the two hardest things I’ve ever done. The movie was actually harder, because it hurt me everywhere, most of all my brain and my feet. My father had raised me never to start a job unless I planned on finishing it, and I was determined to do my damnedest. The word quit was not in my vocabulary. Still, Daddy had never been in a musical film. One day I crumpled in a heap under the rehearsal piano, crying. Fred Astaire came to my rescue. He asked me why I was crying, and I told him the dancing was so hard, I thought I was going to die. “You’re not going to die,” he said. “That’s what it’s like to learn to dance. If you’re not sweating, you’re not doing it right.” He took me to the studio where he was rehearsing with Hermes Pan, another great MGM choreographer. I watched in awe as Fred worked on his routines to the point of frustration and anger. I realized that if it was hard for Fred Astaire, dancing was hard for everyone. No one ever made it look easier. His kind gesture helped me a great deal." ("Unsinkable: A Memoir", Debbie Reynolds and Dorian Hannaway, 2012) P.S: On this day, 74 years ago, "Singin' in the Rain" (1952) premiered in Miami, Florida, USA.

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Fred Astaire and Ginger Rogers dancing “Cheek to Cheek” in Top Hat (1935). For this “Cheek to Cheek” number, Ginger Rogers wanted to wear an elaborate blue dress heavily decked out with ostrich feathers. When director Mark Sandrich and Fred Astaire saw the dress, they knew it would be impractical for the dance. Sandrich suggested that Rogers wear the white gown she had worn performing “Night and Day” in The Gay Divorcee (1934). Rogers walked off the set, finally returning when Sandrich agreed to let her wear the offending blue dress. As there was no time for rehearsals, Ginger Rogers wore the blue feathered dress for the first time during filming, and as Astaire and Sandrich had feared, feathers started coming off the dress. Astaire later claimed it was like “a chicken being attacked by a coyote”. In the final film, some stray feathers can be seen drifting off it. To patch up the rift between them, Astaire presented Rogers with a locket of a gold feather. This was the origin of Rogers' nickname “Feathers”. The shedding feathers episode was recreated to hilarious results in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer played by Judy Garland. “Cheek to Cheek” was nominated for the Best Song Academy Award for 1936, which it lost to “Lullaby of Broadway”. The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema.

Fred Astaire and Ginger Rogers dancing “Cheek to Cheek” in Top Hat (1935). For this “Cheek to Cheek” number, Ginger Rogers wanted to wear an elaborate blue dress heavily decked out with ostrich feathers. When director Mark Sandrich and Fred Astaire saw the dress, they knew it would be impractical for the dance. Sandrich suggested that Rogers wear the white gown she had worn performing “Night and Day” in The Gay Divorcee (1934). Rogers walked off the set, finally returning when Sandrich agreed to let her wear the offending blue dress. As there was no time for rehearsals, Ginger Rogers wore the blue feathered dress for the first time during filming, and as Astaire and Sandrich had feared, feathers started coming off the dress. Astaire later claimed it was like “a chicken being attacked by a coyote”. In the final film, some stray feathers can be seen drifting off it. To patch up the rift between them, Astaire presented Rogers with a locket of a gold feather. This was the origin of Rogers' nickname “Feathers”. The shedding feathers episode was recreated to hilarious results in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer played by Judy Garland. “Cheek to Cheek” was nominated for the Best Song Academy Award for 1936, which it lost to “Lullaby of Broadway”. The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema.

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Vera-Ellen and Fred Astaire dancing to “Mr. and Mrs. Hoofer at Home” in MGM's biographical musical comedy film “Three Little Words” (1950), directed by Richard Thorpe. “Mr. and Mrs. Hoofer at Home” is a hectic and high-kicking comic dance duet for Astaire and Vera-Ellen set in a suburban living room which portrays the various challenges of contented domesticity. The routine, which in contrast to the previous dance routine (“Where Did You Get That Girl?”) is thoroughly modern in conception, is nonetheless shown performed at the Keith's Theatre (which later became the “K” in RKO).

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He was locked up before GTA 5 was released, now he's playing it for the first time... and only has to wait a few months for GTA 6.

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Black people created and evolved tap dance; however, that history is being erased. A white man, Fred Astaire, is credited with the advancement of tap dancing. But he could not dance with blacks because their powerful tap style was too dominant for him to keep up with.

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