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Baby Snooks: Why, Daddy?
baby_snooks_4pg.qxd:4 pg. Booklet 8/18/09 2:51 PM Page 1 Track 7: Baby Buggy - July 2, 1942 – Daddy thinks that he’ll be able to use the old baby buggy to transport the twins, but the Baby Snooks: vehicle will need a few modifications. (9:48) CD 4 Why, Daddy? Track 1: The Camp Report: September 3, 1942 – Daddy welcomes Snooks back after her stay at summer camp, and is Program Guide by Ivan G. Shreve, Jr. looking forward to reading her camp report…but, first bedtime. (8:07) During the Golden Age of Radio, audiences were treated to a “brat triumvirate.” The best- known of the radio brats was wisenheimer Charlie McCarthy, who along with partner (read: Track 2: Baby Snooks Goes to a Movie - September 24, 1942 – ventriloquist) Edgar Bergen entertained audiences for nearly twenty years with the ultra-popular Going to the movies is a pleasure for some…but, since Daddy The Chase & Sanborn Hour . In the 1940s, comedian Red Skelton introduced demon-on- has to take Snooks and the twins it’s akin to walking the last wheels “Junior, the mean widdle kid” on his Raleigh Cigarette Program . Hanley Stafford as the long-suffering mile. (8:51) “Daddy” with Brice as Snooks. The last member of this trio of incorrigibles was Baby Snooks, played by famed musical Track 3: Gozinta - October 1, 1942 – Daddy is suffering from a case of insomnia, so Snooks comedy star Fanny Brice. Brice began her show business career at the age of twelve, earning takes advantage of his sleepless state to con him into helping her with her homework. -
Asolo Repertory Theatre Presents Fanny Brice, America's Funny Girl
For Immediate Release: April 24, 2012 Media Contact: Steph Gray, Public Relations Coordinator 941.351.9010 ext. 4800; [email protected] Asolo Repertory Theatre presents Fanny Brice, America’s Funny Girl (SARASOTA, Fla.)- Before there was a Lucy or Ethel, Gracie Allen or Imogene Coca, Fanny Brice was the female comic superstar. Fanny Brice, America's Funny Girl will be open May 23, 2012 and run until June 17, 2012. Previews begin May 20. Fanny Brice, America’s Funny Girl is a reworking of Maltz Jupiter Theatre’s 2009 hit production Fanny Brice: The Real Funny Girl. Writer and Director David H. Bell modified the script and is bringing Asolo Rep the most inspiring version yet. TCPalm raved, “Marya Grandy may not be the real Fanny Brice…but she just might be a new version of Ethel Merman. That’s with a little Patti LuPone and the emotional singing delivery al a Judy Garland tossed in for good measure”. WJTW FM said “what really brought the audience to its feet for a standing ovation however was the finale…it doesn’t get any better than that.” Born Fania Borach on the Lower East Side of New York City in 1891, Brice began her career on stage with a burlesque troupe at the age of 17. Two years later she was headlining for the Ziegfeld Follies, and by 1921 she released her signature song, “My Man.” Brice became one of the biggest comedic stars to grace the stage, yet her personal life wasn’t as successful, with heartache and betrayal followed her at every step and her three marriages all ending in divorce. -
Florenz Ziegfeld Jr
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ZIEGFELD GIRLS BEAUTY VERSUS TALENT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Theatre Arts By Cassandra Ristaino May 2012 The thesis of Cassandra Ristaino is approved: ______________________________________ __________________ Leigh Kennicott, Ph.D. Date ______________________________________ __________________ Christine A. Menzies, B.Ed., MFA Date ______________________________________ __________________ Ah-jeong Kim, Ph.D., Chair Date California State University, Northridge ii Dedication This thesis is dedicated to Jeremiah Ahern and my mother, Mary Hanlon for their endless support and encouragement. iii Acknowledgements First and foremost I would like to express my deepest gratitude to my thesis chair and graduate advisor Dr. Ah-Jeong Kim. Her patience, kindness, support and encouragement guided me to completing my degree and thesis with an improved understanding of who I am and what I can accomplish. This thesis would not have been possible without Professor Christine Menzies and Dr. Leigh Kennicott who guided me within the graduate program and served on my thesis committee with enthusiasm and care. Professor Menzies, I would like to thank for her genuine interest in my topic and her insight. Dr. Kennicott, I would like to thank for her expertise in my area of study and for her vigilant revisions. I am indebted to Oakwood Secondary School, particularly Dr. James Astman and Susan Schechtman. Without their support, encouragement and faith I would not have been able to accomplish this degree while maintaining and benefiting from my employment at Oakwood. I would like to thank my family for their continued support in all of my goals. -
Special Trip to the Brand New Museum of the American Revolution
Village of East Hills Senior Activities Committee PRESORTED 209 Harbor Hill Road May 2018 FIRST CLASS East Hills, NY 11576 U.S. POSTAGE (516) 621-2796 Newsletter PAID [email protected] ROSLYN, NY Our thanks the Mayor and the Village Trustees for PERMIT NO.4 Stanley Stern, Chairperson their Sponsorship of our Newsletter and for being so Irving Chernofsky supportive of the Senior Activities Committee (SAC) Rhoda Helman Barbara Klein Joan Perilla Eileen Reed SPECIAL TRIP TO THE BRAND NEW MUSEUM OF THE AMERICAN REVOLUTION IN PHILADELPHIA - TUESDAY, MAY 15TH BUS WILL LEAVE VILLAGE HALL AT 8:30 AM First, we will have lunch on our own at the fabulous Reading Terminal Market. Great food, wonderful shopping for all! Then we will have a private docent-led tour of the core exhibition of this wonderful brand new museum. We will see authentic objects that include manuscripts, artwork, weaponry, the actual tent used by Washington, plus personal diaries and the paper money (Continentals) that were issued. We will learn the stories of America’s founding generation including craftsmen, laborers, seamen, farmers, African Americans, women and Native people. These are the people who had to wrestle with conflicting ideals of loyalty and independence. Come join us for a truly enlightening and exciting visit to the start of our nation! Dinner at Famous Dave’s in Cherry Hill, NJ on the way home. Cost for Bus, Private tour and dinner: $80 for Residents/$90 for Non-residents SPECTACULAR MUSICAL EVENT: SINGIN’ IN THE RAIN SUNDAY, JUNE 24th 2:00 PM ENGEMAN THEATER, NORTHPORT DINNER AT ANTONETTE’S We have all seen the movie, but have you experienced the live performance of one of the greatest movies ever made? Join us as we see the glitz and glamour of Hollywood’s golden age. -
One Night with Fanny Brice
The American Century Theater presents Audience Guide Edited by Jack MarshallNovember 5–27 Rosslyn Spectrum Theater you can afford to seesee———— ppplaysplays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. This arts event is made possible in part by the Virginia Commission on the Arts and the National Endowment for the Arts, as well as by many generous donors. -
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun. -
VINCENTE MINNELLI Biography
American MovieMakers VINCENTE MINNELLI Biography "Basically, I work to please myself," Vincente Minnelli wrote in his autobiography, I Remember It Well. "But I'm the hardest person to please that I know. I'm not an artist in the classical sense. I'm still not sure if movies are an art form. And if they're not, let them inscribe on my tombstone what they could about any craftsman who loves his job: 'Here Lies Vincente Minnelli. He died of hard work.1" Vincente Minnelli (1903-86) was a unique filmmaker who combined special affinities for composition, color, and visual detail with an innate sensitivity and sophistication to create some of Hollywood's most memorable and dazzling films. From his film directorial debut in 1943 with Cabin in the Sky (1943) -- an all-black musical featuring Ethel Waters, Lena Home, Eddie (Rochester) Anderson, and Louis Armstrong -- to such musical classics as Meet Me in St. Louis (1944), An American in Paris (1951), The Band Wagon (1953), and Gigi (1958), the dramas Lust for Life (1956) and The Bad and the Beautiful (1953), and the comedies The Long, Long Trailer (1954) and Father of the Bride (1950), Minnelli put his special stamp on a treasured and unequaled movie legacy. "I approach each film as an entirely new experience growing out of the particular material involved," he once said. "Musical, romantic comedy or tragic drama, each contains different aspects of the same basic problem. That is, to tell a story through characters, dialogue, sometimes through dance or pantomime, in a manner as nearly unique for that particular film as ability, resourcefulness, and inspiration will permit. -
Fanny Brice, Funny Girl, and “The Streisand Phenomenon”
____________________________________________________________________ Glorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon” ____________________________________________________________________ ____________________________________________________________________ “What makes [a contemporary production of Funny Girl] all the more impressive is that few actors, or theater companies outside of summer stock, dare to attempt Jule Styne's and Bob Merrill's grand spectacle that propelled Barbra Streisand's career nearly 40 years ago.” Jillian Hornbeck Ambroz, The New York Times (April 2001) “Our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus- grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said ‘Hello, Gorgeous’ to herself in the mirror – a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.” William Mann, Hello, Gorgeous (2012) ____________________________________________________________________ Alexandra Strycula Thesis submitted in partial fulfillment of the requirements for the major in American Studies, Barnard College April 25, 2014 Thesis Advisers: Elizabeth Esch and Severin Fowles Abstract Rarely has there been a marriage of actress-and-role as lasting and profound as that -
Fanny Brice, Funny Girl, and “The Streisand Phenomenon”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons ____________________________________________________________________ Glorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon” ____________________________________________________________________ ____________________________________________________________________ “What makes [a contemporary production of Funny Girl] all the more impressive is that few actors, or theater companies outside of summer stock, dare to attempt Jule Styne's and Bob Merrill's grand spectacle that propelled Barbra Streisand's career nearly 40 years ago.” Jillian Hornbeck Ambroz, The New York Times (April 2001) “Our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus- grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said ‘Hello, Gorgeous’ to herself in the mirror – a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.” William Mann, Hello, Gorgeous (2012) ____________________________________________________________________ Alexandra Strycula Thesis submitted in partial fulfillment of the requirements for the major in American Studies, Barnard College April 25, 2014 Thesis Advisers: -
Liner Notes for New World Records CD 80611-2
FROM BARRELHOUSE TO BROADWAY: THE MUSICAL ODYSSEY OF JOE JORDAN By RICK BENJAMIN Joe Jordan (1882–1971) is the musician who most directly links authentic African-American ragtime with the Golden Age of the American musical theater. An artist of great versatility—he was a gifted pianist, composer, songwriter, arranger, conductor, organizer, promoter, and educator—Jordan was also remarkable for his extraordinary successes in an era of appalling racial discrimination. Threads of his long and fascinating career intertwined and intersected with historical figures as diverse as Fanny Brice, Scott Joplin, Orson Welles, James P. Johnson, Florenz Ziegfeld, Thomas “Fats” Waller, W.C. Handy, Bill “Bojangles” Robinson, Williams & Walker, Ethel Merman, Cole & Johnson, Ginger Rogers, Ernest Hogan, Will Marion Cook, Tom Turpin, and a host of others. Although he had little formal musical training, Joe Jordan composed, orchestrated, and conducted dozens of important musical productions in Chicago and New York, and wrote more than six hundred songs, several of them nationwide hits. He was also a businessman of such keen ability that by the late 1910s he had become one of the wealthiest blacks in the nation. Yet, with the passage of time, awareness of Joe Jordan’s music and career has faded. But a study of his rich creative legacy reveals much of importance to current and future generations. It is time for Joe Jordan’s amazing story —and music—to be heard once again. Joseph Zachariah Taylor Jordan entered the world on February 11, 1882. The son of Zachariah and Josephine Jordan, he was born in Cincinnati, Ohio. For a creative and inquisitive child, the “Queen City of the West” was indeed a fortunate place to be. -
Songs of the Ziegfeld Follies
SONGS OF THE ZIEGFELD FOLLIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Ann Ommen, B.M., M.A. The Ohio State University 2007 Dissertation Committee: Professor Graeme Boone, Adviser Approved by Professor Thomas Postlewait Professor Danielle Fosler-Lussier _________________________ Adviser Graduate Program in Music Copyright by Ann Ommen 2007 ABSTRACT Enormously popular in their own time, the Ziegfeld Follies have become an icon of American popular culture. Produced annually by Florenz Ziegfeld, Jr. between 1907 and 1931, these revues were and still are best-known for their lavish production numbers which brought unprecedented attention to members of the chorus. They have served as inspiration for generations of filmmakers, playwrights, and popular authors, but have only been studied by a small number of scholars, primarily those working in cultural studies. For the first time, this dissertation brings a musicological identity to the Follies by examining their songs. It addresses the legends surrounding certain songs so that their performance history can be better understood. It discusses representations of gender, race, and national identity in songs of the Follies, revealing the cultural beliefs Ziegfeld thought would be most acceptable to his largely white, middle-class audiences. It dissects comic song performances to show a specifically musical component to the humor of the Follies. Finally, it analyzes compositional techniques in the lyrics of Gene Buck and in the songs written by Irving Berlin for the Ziegfeld Follies of 1927 , the only Follies production to have been written by a single songwriter. -
Fanny Brice and the “Schnooks” Strategy: Negotiating a Feminine Comic Persona on the Air
Michele Hilmes Fanny Brice and the “Schnooks” Strategy: Negotiating a Feminine Comic Persona on the Air No one could claim that the career of Fanny Brice here is Kate Smith—in a system that preferred has been overlooked. Frequently in the news its female stars as secondary sidekicks (Mary during her long career—more for her private than Livingstone to Jack Benny, Portland Hoffa to Fred her professional life—she has been the subject Allen), relatively humorless “straight women” to of three biographies, numerous popular articles, their partner’s comic lead (Molly in Fibber McGee and several major motion pictures.1 The fact that and Molly), or as the recurring “dumb dora” of most of these efforts have stirred controversy only vaudeville mixed-pair comics (most famously, seems to reflect the tempestuous and contradictory Gracie Allen). Within this carefully delimited life of their heroine, whose career from ethnic containment of the disruptive potential of women’s burlesque to legitimate stage to radio spans more humor, Brice stands out. In her early years on than thirty years and three dramatic marriage-and- NBC in the Chase and Sanborn Hour (1933) divorce scenarios. Amidst the drama of Brice’s and on the Ziegfeld Follies of the Air (CBS 1936) life, and the colorful anecdotes of her role in Brice’s was a woman’s voice speaking humorous the lives of such showmen as Florenz Ziegfeld and sometimes bawdy lines, directing attention and Billy Rose, her most enduring contribution both to her gender and to her ethnicity, defying to popular entertainment—the comic character bounds of taste and appropriate feminine behavior.