London's 35-year acting career began in films in 1944 and included playing opposite Gary Cooper in Man of the West (1958) and Robert Mitchum in The Wonderful Country (1959). She achieved continuing success in the TV medical drama Emergency! (1972–1979), co-starring her real-life husband, Bobby Troup, and produced by her ex-husband, Jack Webb, in which London played the female lead role of nurse Dixie McCall. She and Randolph Mantooth, who played one-half of her medical students, a paramedic, in the series, were very close to her family, until her death in 2000.
Born in Santa Rosa, California, she was the daughter of Jack and Josephine Peck, who were a vaudeville song-and-dance team. When she was fourteen the family moved to Los Angeles. Shortly after that, she began appearing in movies. She graduated from the Hollywood Professional High School in 1945.
London began singing under the name Gayle Peck in public in her teens before appearing in a film. She was discovered by talent agent Sue Carol (wife of actor Alan Ladd), while working as an elevator operator. Her early film career, however, did not include any singing roles.
London recorded 32 albums in a career that began in 1955 with a live performance at the 881 Club in Los Angeles. Billboard named her the most popular female vocalist for 1955, 1956, and 1957. She was the subject of a 1957 Life cover article in which she was quoted as saying, "It's only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of oversmoked voice, and it automatically sounds intimate."
London's debut recordings were for the Bethlehem Records label. While shopping for a record deal, she recorded four tracks that would later be included on the compilation album Bethlehem's Girlfriends in 1955. Bobby Troup backed London on the album, for which London recorded the standards "Don't Worry About Me", "Motherless Child", "A Foggy Day", and "You're Blasé".
London's most famous single, "Cry Me a River", was written by her high-school classmate Arthur Hamilton and produced by Troup. The recording became a million-seller after its release in December 1955 and also sold on reissue in April 1983 from the attention brought by a Mari Wilson cover. London performed the song in the film The Girl Can't Help It (1956), and her recording gained later attention in the films Passion of Mind (2000) and V for Vendetta (2006). The song "Yummy Yummy Yummy" was featured on the HBO television series Six Feet Under and appears on its soundtrack album. London's "Must Be Catchin'" was featured in the 2011 premiere episode of the ABC series Pan Am. Her last recording was "My Funny Valentine" for the soundtrack of the Burt Reynolds film Sharky's Machine (1981).
Other popular singles include "Hot Toddy", "Daddy", and "Desafinado". Recordings such as "Go Slow" epitomized her career style: her voice is slow, smoky, and playfully sensual.
She was married to Jack Webb, of Dragnet fame. Her obvious beauty and self-poise (she was a pinup girl prized by GIs during World War II) contrasted with his pedestrian appearance and stiff-as-a-board acting technique (much parodied by impersonators). This unlikely pairing arose from his and her love for jazz; their marriage lasted from July 1947 to November 1953. They had two daughters, one who was killed in a traffic accident in the 1990s and one who survived London. In 1954, having become somewhat reclusive after her divorce from Jack Webb, she met jazz composer and musician Bobby Troup at a club on La Brea Blvd. They married on December 31, 1959 and remained married until Troup's death in February 1999. Together, they had one daughter and twin sons.
London suffered a stroke in 1995, and was in poor health until her death in Encino, California, at the age of seventy-four, survived by four of her five children. She died on18th October 2000, and was buried in Forest Lawn - Hollywood Hills Cemetery in Los Angeles.
Always True to You in My Fashion
Julie London Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Why can't you behave
Why can't you behave?
How in hell can you be jealous
When you know, baby, I'm your slave?
I'm just mad for you
And I'll always be
But naturally
If a custom-tailored vet
Asks me out for something wet
When the vet begins to pet, I cry "hooray!"
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way
I enjoy a tender pass
By the boss of Boston, Mass
Though his pass is middle-class and not Backa Bay
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way
There's a madman known as Mack
Who is planning to attack
If his mad attack means a Cadillac, okay!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way
I've been asked to have a meal
By a big tycoon in steel
If the meal includes a deal, accept I may
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, Darlin' in my way
I could never curl my lip
To a dazzlin' diamond clip
Though the clip meant "Let 'er rip", I'd not say "Nay!"
But I'm always true to to you, darlin, in my fashion
Yes, I'm always true to you, darlin' in my way
There's an oil man known as "Tex"
Who is keen to give me checks
And his checks, I fear, mean that sex is here to stay!
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way
There's a wealthy Hindu priest
Who's a wolf, to say the least
When the priest goes too far East, I also stray
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin'in my way
There's a lush from Portland, Ore
Who is rich but such a bore
When the bore falls on the floor, I let him lay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin',in my way
Mister Harris, plutocrat
Wants to give my cheek a pat
If the Harris pat means a Paris hat, Oo-la-la!
Mais je suis toujours fidele, darlin', in my fashion
Oui, je suis toujours fidele, darlin', in my way
From Ohio, Mister Thorne
Calls me up from night 'til morn
Mister Thorne once corner'd corn and that ain't hay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way
From Milwaukee, Mister Fritz
Often moves me to the Ritz
Mister Fritz is full of Schlitz and full of play
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way
Mister Gable, I mean Clark
Wants me on his boat to park
If the Gable boat means a sable coat, anchors aweigh!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way
In Julie London's "Always True to You in My Fashion," she challenges the idea of fidelity in relationships. The lyrics consist of a series of scenarios where men of various occupations and backgrounds attempt to win her affection. Although she admits to enjoying the attention, she reassures her lover, Bill, that she will always be true to him in her own way. The verses explore the idea of being faithful in the sense that she always returns to Bill, but at the same time, she still indulges in the attention of various men. The song highlights the complexities of human emotions and relationships, and how people navigate them differently.
The lyrics were written by Cole Porter for the 1948 musical "Kiss Me Kate." Julie London's version was released in 1955 as part of her album "Julie Is Her Name." Other notable versions of the song include Ella Fitzgerald and Barbra Streisand.
Line by Line Meaning
Oh, Bill
Addressing a man named Bill
Why can't you behave
Questioning why Bill can't behave
Why can't you behave?
Repeating the question as a plea for Bill to behave
How in hell can you be jealous
Expressing doubt that Bill should be feeling jealous
When you know, baby, I'm your slave?
Reminding Bill that the singer is devoted to him
I'm just mad for you
Admitting to being devoted to Bill
And I'll always be
Promising to always be devoted to Bill
But naturally
Conceding that the devotion comes naturally
If a custom-tailored vet
If a well-dressed man
Asks me out for something wet
Asks me to go for a drink
When the vet begins to pet, I cry "hooray!"
When the man tries to be affectionate, I welcome it
But I'm always true to you, darlin', in my fashion
But I stay loyal to you, dear, in my own way
Yes, I'm always true to you, darlin', in my way
Repeating the promise of loyalty
I enjoy a tender pass
I like romantic advances
By the boss of Boston, Mass
From a man in a position of power
Though his pass is middle-class and not Backa Bay
Although he's not from a high-class area
There's a madman known as Mack
Referring to a man named Mack who's a bit unpredictable
Who is planning to attack
Who may be up to mischief
If his mad attack means a Cadillac, okay!
If his antics result in a fancy car, that's acceptable
I've been asked to have a meal
I've been invited to a meal
By a big tycoon in steel
A wealthy man in the steel industry
If the meal includes a deal, accept I may
If there's potential for business, I might accept
I could never curl my lip
I would never show distaste
To a dazzlin' diamond clip
To a shiny diamond accessory
Though the clip meant "Let 'er rip", I'd not say "Nay!"
Even if the accessory is suggestively tempting, I won't reject it outright
There's an oil man known as "Tex"
A wealthy man from Texas
Who is keen to give me checks
Who wants to give me money
And his checks, I fear, mean that sex is here to stay!
I'm afraid that accepting his money would mean committing to a sexual relationship
There's a wealthy Hindu priest
A rich man who's a priest in the Hindu religion
Who's a wolf, to say the least
A bit of a ladies' man, to put it mildly
When the priest goes too far East, I also stray
When he goes out of his depth culturally, I also lose interest
There's a lush from Portland, Ore
A drunk man from Oregon
Who is rich but such a bore
Despite his wealth, he's dull
When the bore falls on the floor, I let him lay
When he passes out, I leave him there
Mister Harris, plutocrat
A man named Harris who's extremely wealthy
Wants to give my cheek a pat
He wants to flirt with me
If the Harris pat means a Paris hat, Oo-la-la!
If I get a fancy present out of it, that's exciting
From Ohio, Mister Thorne
A man named Thorne from Ohio
Calls me up from night 'til morn
He calls me incessantly
Mister Thorne once corner'd corn and that ain't hay
He's successful, having cornered the market on corn
From Milwaukee, Mister Fritz
A man named Fritz from Milwaukee
Often moves me to the Ritz
He takes me to fancy places
Mister Fritz is full of Schlitz and full of play
He's a drinker, and a bit of a joker
Mister Gable, I mean Clark
Referring to the famous actor Clark Gable
Wants me on his boat to park
He wants me to join him on his boat
If the Gable boat means a sable coat, anchors aweigh!
If I get a nice present out of it, let's go!
Mais je suis toujours fidele, darlin', in my fashion
But I'm always faithful, darling, in my own way (in French)
Oui, je suis toujours fidele, darlin', in my way
Repeating the promise of faithfulness in French
Lyrics © Warner/Chappell Music, Inc.
Written by: COLE PORTER
Lyrics Licensed & Provided by LyricFind
Garrettk41
I prefer slightly more up tempo versions myself, but at least Julie knew what beat to sing "darling" on, unlike some other artists who covered this classic.
Виктория Гусейнова
😊👍)
Ho Chi Minh was a mass-murderer
Slow but still ok!
james morgan stewart
yes !!!
Christa Robinson
CNN theme song