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In xxxx, Ball landed work as a model and later began her performing career on Broadway using the stage name "Diane Belmont". She assumed many small movie roles in the xxxxs as a contract player for RKO Radio Pictures. Ball was dubbed the "Queen of the Bs" (referring to her many roles in B-films). In xxxx, Ball was instrumental in the creation of the television series I Love Lucy. The show co-starred her then-husband, Desi Arnaz, as Ricky Ricardo, Vivian Vance as Ethel Mertz, and William Frawley as Fred Mertz. The Mertzes were the Ricardos' landlords and friends. The show ended in xxxx after 180 episodes. The cast remained intact (with some additional cast members added) for a series of one-hour specials from xxxx to xxxx as part of The Westinghouse Desilu Playhouse. Its original network title was The Ford Lucille Ball-Desi Arnaz Show for the first season, and The Westinghouse Desilu Playhouse Presents The Lucille Ball-Desi Arnaz Show for the following seasons. Later reruns were titled the more familiar Lucy-Desi Comedy Hour, which was a perennial summer favorite on CBS through xxxx. The specials emphasized guest stars such as Ann Sothern, Rudy Vallee, Tallulah Bankhead, Fred MacMurray and June Haver, Betty Grable and Harry James, Fernando Lamas, Maurice Chevalier, Danny Thomas and his Make Room for Daddy co-stars, Red Skelton, Paul Douglas, Ida Lupino and Howard Duff, Milton Berle, Robert Cummings, and, in the final episode, "Lucy Meets the Moustache", Ernie Kovacs and Edie Adams. Ball went on to star in two more successful television series: The Lucy Show, which ran on CBS from xxxx to xxxx (156 Episodes), and Here's Lucy from xxxx to xxxx (144 episodes). Her last attempt at a television series was a xxxx show called Life with Lucy ? which failed after 8 episodes aired, although 13 were produced.Ball was born to Henry Durrell Ball (September 16, xxxx ? February 19, xxxx) and Desiree "DeDe" Evelyn Hunt (September 21, xxxx ? July 20, xxxx) in Jamestown, New York. Although Lucy was born in Jamestown, New York, she sometimes claimed that she was born in Butte, Montana.[13] A number of magazines reported inaccurately that she had decided that Montana was a more romantic place to be born than New York State, and thus created a fantasy of a ?Western childhood?.[14] Shortly before her father's death her family moved to Anaconda, Montana at age 3 where her father died, and then to Wyandotte, Michigan.[citation needed] Her family was Baptist, and her ancestry included Scottish, French, Irish, and English.[15][16] Some of her genealogy leads to the earliest settlers in the colonies, including Edmund Rice, an early immigrant to Massachusetts Bay Colony.[17][18]After her father died, Ball and her brother Fred Henry Ball (July 17, xxxx ? February 5, xxxx) were raised by her mother and grandparents in Celoron, New York a summer resort village on Lake Chautauqua just west of Jamestown.[22] The most important influence on Lucy?s early years was Celoron Park, one of the best amusement areas in the United States at that time. Its boardwalk, with a ramp going down into the lake as a children?s slide, the Pier Ballroom, roller-coaster, bandstand, and a stage where vaudeville, concerts, and regular theatrical shows were presented, made Celoron Park an entertainment destination.[14] Her grandfather, Fred Hunt, was an eccentric who also enjoyed the theater. He frequently took the family to vaudeville shows and encouraged young Lucy to take part in both her own and school plays.[citation needed] Four years after the death of her father, Ball?s mother DeDe remarried. While her step-father, Edward Peterson, and mother went to look for work in another city, Ball was left in the care of her step-father?s parents. Ball?s new guardians were a puritanical Swedish couple who were so opposed to frivolity that they banished all mirrors from the house except for one over the bathroom sink. When the young Ball was caught admiring herself in it she was severely chastised for being vain.[23] This period of time affected Ball so deeply that in later life she claimed that it lasted seven or eight years, but in reality, it was probably less than one.[24] Edward Peterson was a Shriner. When his organization needed female entertainers for the chorus line of their next show, he encouraged his twelve-year-old stepdaughter to audition.[25] While Ball was onstage, she began to realize that if one was seeking praise and recognition this was a brilliant way to receive it. Her appetite for recognition had thus been awakened at an early age.[26] In xxxx her family suffered misfortune when their house and furnishings were taken away in a legal judgment after a neighborhood boy was accidentally shot and paralyzed by someone target shooting in their yard, under Ball's grandfather's supervision. The family then moved into a small apartment in Jamestown.[27]In xxxx Ball, then only 14, started dating Johnny DeVita, a 23-year-old local hood. DeDe was unhappy with the relationship, but was unable to influence her daughter to end it. She expected the romance to burn out in a few weeks, but that did not happen. After about a year, DeDe tried to separate them by using Lucille's desire to be in show business. Despite the family's meager finances, she arranged for Lucille to go to the John Murray Anderson School for the Dramatic Arts in New York City[28][29] where Bette Davis was a fellow student. Ball later said about that time in her life, "All I learned in drama school was how to be frightened."[30]Ball was determined to prove her teachers wrong, and returned to New York City in xxxx. Among her other jobs, she landed work as a fashion model for Hattie Carnegie.[31] Her career was thriving when she became ill, either with rheumatic fever, rheumatoid arthritis, or some other unknown illness, and was unable to work for two years.[32] She moved back to New York City in xxxx to resume her pursuit of a career as an actress, and supported herself by again working for Carnegie[33] and as the Chesterfield cigarette girl. Using the name "Diane Belmont", she started getting some chorus work on Broadway[34] but the work was not lasting. Ball was hired ? but then quickly fired ? by theatre impresario Earl Carroll from his Vanities, by Florenz Ziegfeld from a touring company of Rio Rita,[35] and was let go from the Shubert brothers production of Stepping Stones.[citationAfter an uncredited stint as one of the Goldwyn Girls in Roman Scandals (xxxx) she permanently moved to Hollywood to appear in films. She appeared in many small movie roles in the xxxxs as a contract player for RKO Radio Pictures, including a two-reel comedy short with the Three Stooges (Three Little Pigskins, xxxx) and a movie with the Marx Brothers (Room Service, xxxx). She can also be seen as one of the featured models in the Fred Astaire and Ginger Rogers film Roberta (xxxx), briefly as the flower girl in Top Hat (xxxx), as well as in a brief supporting role at the beginning of Follow the Fleet (xxxx),[36] another Astaire-Rogers film. Ginger Rogers was a distant maternal cousin of Ball's. She and Rogers played aspiring actresses in the hit film Stage Door (xxxx) co-starring Katharine Hepburn. In xxxx she also landed the role she hoped would lead her to Broadway, in the Bartlett Cormack play Hey Diddle Diddle, a comedy set in a duplex apartment in Hollywood. The play premiered in Princeton, New Jersey, on January 21, xxxx with Ball playing the part of Julie Tucker, "one of three roommates coping with neurotic directors, confused executives, and grasping stars who interfere with the girls' ability to get ahead."[37] The play received good reviews, but there were problems, chiefly with its star, Conway Tearle, who was in poor health. Cormack wanted to replace him, but the producer, Anne Nichols, said the fault lay with the character and insisted that the part needed to be reshaped and rewritten. The two were unable to agree on a solution. The play was scheduled to open on Broadway at the Vanderbilt Theatre, but closed after one week in Washington, D.C. when Tearle suddenly became gravely ill.[38] Ball was signed to Metro-Goldwyn-Mayer in the xxxxs, but she never achieved major stardom from her appearance in those films.[39]She was known in many Hollywood circles as "Queen of the B's" ? a title previously held by Fay Wray ? starring in a number of B-movies, such as xxxx's Five Came Back. Like many budding starlets Ball picked up radio work to earn side income as well as gain exposure. In xxxx she appeared regularly on The Phil Baker Show. When that completed its run in xxxx, Ball joined the cast of The Wonder Show, starring future Wizard of Oz tin man Jack Haley. It was here that she began her fifty-year professional relationship with Gale Gordon, who served as show announcer. The Wonder Show lasted one season, with the final episode airing on April 7, xxxx.[40] MGM producer Arthur Freed purchased the Broadway hit musical play DuBarry Was a Lady (xxxx) especially for Ann Sothern, but when Ann turned down the part the choice role was awarded to Miss Ball, who in real life was best friend to Miss Sothern. In xxxx, Ball starred in Lover Come Back[43], and in xxxx, made an uncredited appearance as Sally Elliot in The Fuller Brush Man.In xxxx, Ball met Cuban-born bandleader Desi Arnaz while filming the Rodgers and Hart stage hit Too Many Girls. When they met again on the second day, the two connected immediately and eloped the same year. Although Arnaz was drafted into the Army in xxxx, he ended up being classified for limited service due to a knee injury.[citation needed] As a result, Arnaz stayed in Los Angeles, organizing and performing USO shows for wounded GIs being brought back from the Pacific. That same year, Ball appeared opposite Henry Fonda in The Big Street, in which she plays a paralyzed nightclub singer and Fonda portrays a busboy who idolizes her. The following year Ball appeared in DuBarry Was a Lady, a film for which the natural brunette first had her hair dyed the flaming red that would become her screen trademark.In xxxx, Ball was cast as Liz Cugat (later "Cooper"), a wacky wife, in My Favorite Husband, a radio program for CBS Radio. The program was successful, and CBS asked her to develop it for television. She agreed, but insisted on working with Arnaz. CBS executives were reluctant, thinking the public would not accept an All-American redhead and a Cuban as a couple. CBS was initially not impressed with the pilot episode produced by the couple's Desilu Productions company, so the couple toured the road in a vaudeville act with Lucy as the zany housewife wanting to get in Arnaz's show. The tour was a smash, and CBS put I Love Lucy on their lineup.[42] The I Love Lucy show was not only a star vehicle for Lucille Ball, but a way for her to try to salvage her marriage to Desi Arnaz, which had become badly strained, in part by both having hectic performing schedules which often kept them apart.Along the way, she created a television dynasty and reached several "firsts." Ball was the first woman in television to be head of a production company: Desilu, the company that she and Arnaz formed. After their divorce, Ball bought out Arnaz's share of the studio, and she proceeded to function as a very active studio head.[43] Desilu and I Love Lucy pioneered a number of methods still in use in television production today such as filming before a live studio audience with a number of cameras, and distinct sets adjacent to each other.[44] During this time Ball taught a thirty-two week comedy workshop at the Brandeis-Bardin Institute. Ball was quoted as saying, "You cannot teach someone comedy; either they have it or they don't."[45]When the show premiered, most shows were aired live from New York City studios to Eastern and Central Time Zone audiences, and captured by kinescope for broadcast later to the West Coast. The kinescope picture was inferior to film, and as a result the West Coast broadcasts were inferior to those seen elsewhere in the country. Ball and Arnaz wanted to remain in their Los Angeles home, but the time zone logistics made that broadcast norm impossible. Prime time in L.A. was too late at night on the East Coast to air a major network series, meaning the majority of the TV audience would be seeing not only the inferior picture of kinescopes but seeing them at least a day later.[46]Sponsor Philip Morris did not want to show day-old kinescopes to the major markets on the East Coast, yet neither did they want to pay for the extra cost that filming, processing, and editing would require, pressuring Ball and Arnaz to relocate to New York City. Ball and Arnaz offered to take a pay cut to finance filming, on the condition that their company, Desilu, would retain the rights to that film once it was aired. CBS relinquished the show rights back to Desilu after initial broadcast, not realizing they were giving away a valuable and durable asset. Desilu made many millions of dollars on I Love Lucy rebroadcasts through syndication and became a textbook example of how a show can be profitable in second-run syndication. In television's infancy, the concept of the rerun had not yet formed, and many in the industry wondered who would want to see a program a second time.[47] While other celebrated shows of the period exist only in incomplete sets of kinescopes mostly too degraded to show to subsequent generations of television viewers, I Love Lucy has virtually never gone out of syndication since it began, seen by hundreds of millions of people around the world over the past half century. The success of Ball and Arnaz's gamble was instrumental in drawing television production from New York to Hollywood for the next several decades.[48]