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Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
Play-Guide Sunshine-Boys-FNL.Pdf
TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 MEET THE CREATOR 2 MEET THE CHARACTERS 4 COMMENTS ON THE PLAY 4 COMMENTS ON THE PLAYWRIGHT 6 THE HISTORY OF VAUDEVILLE 7 FamOUS VAUDEVILLIANS 9 A VAUDEVILLE EXCERPT: WEBER AND FIELDS 11 MEDIA TRANSITIONS: THE END OF AN ERA 12 REFERENCES IN THE PLAY 13 DISCUSSION QUESTIONS AND ACTIVITIES 19 The Sunshine Boys Play Guide written and compiled by Katherine Monberg, ATC Literary Assistant. Discussion questions and activities provided by April Jackson, Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS John and Helen Murphy Foundation The Maurice and Meta Gross Arizona Commission on the Arts National Endowment for the Arts Foundation Bank of America Foundation Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Blue Cross Blue Shield Arizona PICOR Charitable Foundation The Stocker Foundation City of Glendale Rosemont Copper The William l and Ruth T. Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company Fund The Johnson Family Foundation, Inc Freeport-McMoRan Copper & Gold Foundation The Lovell Foundation JPMorgan Chase The Marshall Foundation ABOUT ATC Arizona Theatre Company is a professional, not-for-profit -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
The Interaction of Student Major-Field Group and Text Content in TOEFL Reading Comprehension. TOEFL Research Reports
DOCUMENT RESUME ED 389 720 TM 024 220 AUTHOR Hale, Gordon A. TITLE The Interaction of Student Major-Field Group andText Content in TOEFL Reading Comprehension. TOEFL Research Reports 25. INSTITUTION Educational Testing Service, Princeton, N.J. REPORT NO ETS-RR-88-1 PUB DATE Jan 88 NOTE 119p. PUB TYPE Reports Research/Technical (143) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Biological Sciences; *College Students; *English (Second Language); Graduate Study; Higher Education; Humanities; *Interaction; *Majors (Students); *Performance; Physical Sciences; Reading Tests; Social Sciences; Statistical Significance; *Test Format IDENTIFIERS Nonnative Speakers; *Test of English as a Foreign Language ABSTRACT It was hypothesized that a student's major-field area interacts with the text content in determining performance on the Test of English as a Foreign Language (TOEFL) reading passages. Results with 32,467 graduate school applicants, all nonnative English speakers, supported the study's hypothesis, as students in two major-field grnups, the humanities and social sciences and the liological and physical sciences, performed significantly better on passages related to their own groups than on other passagesfor three of the four test forms examined. Although the hypothesized interaction was statistically significant for most of the test forms, the effect was relatively small, as expressed in terms of points on the TOEFL scale. As a practical matter, the effect seems to be relatively small with typical TOEFL reading passages. Statistically, however, the results showed the effect to be a reliable phenomenon, even if relatively small in magnitude, supporting thetheoretical view that a student's major-field interrelates with the text content in determining reading performance. -
September 2006
The Old Radio Times The Official Publication of the Old-Time Radio Researchers September 2006 Over 1,450 Subscribers Number 10 Contents How Groucho and his Brothers Left Their Marx on Network Radio Special Features Robert Jennings and Wayne Boenig Marx & Co. 1 The Marx Brothers, and especially the best Bobby Benson 5 known Marx brother, Groucho, had a long and Lost Movies, Pt. 2 7 distinguished career in show business that Researchers Hub 11 spanned two thirds of the Twentieth Century, Aces High 14 and left an indelible mark on the worlds of vaudeville, Broadway theater, movies, radio, Radio Junkie 18 and television. Radio in 1943 20 In addition to being stars together or singly Ex-Lax 23 in all those varied formats, the Marx Brothers Claybourne 26 also exerted an enormous influence thruout the whole of show business during the years they Regular Features were active. Their original vaudeville appearance was shaped by legendary Treasury Report 22 vaudevillian Al Shean of “Gallagher and Crossword 25 Shean.” They were close personal friends with Librarian’s Shelf 27 personalities as varied as Jack Benny, Bob Hope, George S. Kaufman, George Jessell, isn’t exactly the Medici Family for show Buy-Sell-Trade 30 Irving Thalberg, George Burns and Eddie business, at least it is a considerably Letters to the Editor Cantor. In addition Marx family ties were interlinked legacy whose show business 30 interwoven throughout the world of influences are still being felt on down into this Sushi Bar 33 entertainment. Sadye Marx, a cousin, married new century. Jack Benny and became Mary Livingstone. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Les Marx Brothers Ont La Parole Du Même Auteur
Les Marx Brothers ont la parole Du même auteur Le Dessin animé après Walt Disney Pauvert, 1961 L'Érotique du surréalisme Pauvert, 1965 Le Taureau irlandais Filipacchi, 1974 Les Dingues du nonsense Balland, 1977 Seuil, coll. « Point-Virgule », 1986 Alain Resnais, arpenteur de l'imaginaire Stock, 1981 Le Regard de Buster Keaton Herscher, 1985 Woody Allen au-delà du langage Herscher, 1985 John Huston, la grande ombre de l'aventure Lherminier, 1985 Le Rire des surréalistes La Bougie du Sapeur, 1988 Le Mystère Tex Avery Seuil, coll. «Point-Virgule», 1988 Bonjour Monsieur Lewis Seuil, coll. «Point-Virgule», 1989 A PARAÎTRE La Contagion de W. C. Fields Seuil, coll. « Point-Virgule », 1992 Les Marx Brothers ont la parole par Robert Benayoun Une antifamille Feu les Marx Brothers ? Vous voulez rire ? (Pré- cisément, vous voulez rire.) Dirait-on feu Shakes- peare, feu Freud, feu Antonin Artaud? Sous prétexte que le 22 juin 1977 Julius Marx dit Grou- cho, a, pourrait-on dire, changé de domicile, der- nier membre connu d'une progéniture assez brouillonne à prendre ses quartiers d'éternité dans le pays où l'on ne vieillit plus, nous n'allons pas ici emprunter le langage dodelinant de la nécro, ni entamer une oraison qui les eût fait en d'autres temps mourir de rire Non, l'imparfait n'est pas le mode qui convient pour parler de ces êtres parfaits, modèles de l'improbable ou de l'irrésistible, du hors mesure. Ils ne demeurent pas, comme dit le cliché, pré- sents parmi nous, mais présents contre nous, Guitry dirait : tout contre. -
Class, Language, and American Film Comedy
CLASS, LANGUAGE, AND AMERICAN FILM COMEDY CHRISTOPHER BEACH The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Christopher Beach 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Garamond 11/14 pt. System QuarkXPress [] A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Beach, Christopher. Class, language, and American film comedy / Christopher Beach. p. cm Includes bibliographical references and index. ISBN 0521 80749 2 – ISBN 0 521 00209 (pb.) 1. Comedy films – United States – History and criticism. 2. Speech and social status – United States. I. Title. PN1995.9.C55 B43 2001 791.43 617 – dc21 2001025935 ISBN 0 521 80749 2 hardback ISBN 0 521 00209 5 paperback CONTENTS Acknowledgments page vii Introduction 1 1 A Troubled Paradise: Utopia and Transgression in Comedies of the Early 1930s 17 2 Working Ladies and Forgotten Men: Class Divisions in Romantic Comedy, 1934–1937 47 3 “The Split-Pea -
The Cocoanuts the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Cocoanuts The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the inter- pretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publication manager and editor; Phil Hermansen, art director. Copyright © 2016, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespearean Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Tasso Feldman (above) as Harpo (Silent Red), Jim Poulos as Chico (Willie Wony Diddydony), and John Plumpis as Mr. Hammer (Groucho) in The Cocoanuts, 2016. The Cocoanuts Contents Information on the Play About the Playwright 4 Characters 7 Synopsis 7 Scholarly Articles on the Play The Marx Brothers on Broadway 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 About the Playwright: The Cocoanuts By Rachelle Hughes Almost a century ago Pulitzer Prize-winning playwright George S. Kauffman joined his creative genius with Songwriter’s Hall of Fame composer and lyricist Irving Berlin to write the Marx Brothers’ first movie and second Broadway play, The Cocoanuts. -
A Century of the Marx Brothers Joseph Mills
T A Century of the Marx Brothers Edited by Joseph Mills C' ,p CAMBRIDGE SCI-IOLARS PUBLISHING A Century of the Marx Brothers, edited by Joseph Mills This book first pub!ished 2007 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2.JA,UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright ID 2007 by Joseph Mills and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN 1-84718-240-2;ISBN 13: 9781847182401 CHAPTER ELEVEN THE BIG GREY IR-ELEPHANT: THE PLAY OF LANGUAGE IN THE MARX BROTHERS' SCRIPTS AND IN CHARLES BERNSTEIN'S L=A N=G=U=A=G=E POETRY ZOEBRIGLEY In his collection, Poetic Justice (1979), the L=A=N=G=U=A=G=E poet, Charles Bernstein begins an untitled poem with the following lines: The elephant appears without the slightest indication that he is demanded. An infinite inappropriateness. Continually learning.' The image of the elephant appears as a surprise or as an inappropriate occurrence, and its appearance indicates that one cannot rest easy in the conventional uses of language. Rather the poet must be in a state of continual "learning" discovering how language empowers some subjects and weakens others. As Bernstein writes in his essay, "Making Words Visible": "We all see words: signs of a language we live inside of. -
Michael Wyschogrod's Bold Challenge by Leora Batnitzky JEWISH REVIEW of BOOKS Volume 7, Number 1 Spring 2016 $10.45
Michael Wyschogrod's Bold Challenge by Leora Batnitzky JEWISH REVIEW OF BOOKS Volume 7, Number 1 Spring 2016 $10.45 Shai Secunda Tracks Through the Wilderness with Avivah Zornberg Zack Gold Chaos in the Sinai Mitchell Cohen Moses & Aaron in Berlin and Paris Philip Getz Joseph Epstein A Monk’s How Funny Was Haggadah Groucho? Editor Abraham Socher “MIRIAM’S SONG will NEW Senior Contributing Editor RELEASE inspire those who read it, Allan Arkush as it has inspired me.” Art Director W IRIAM S ONG Betsy Klarfeld NE “M ’ S will inspire those who read it, BENJAMIN NETANYAHU Managing Editor SE Amy Newman Smith RELEA as it has inspired me.” BENJAMIN NETANYAHU Editorial Assistant Kate Elinsky Editorial Board 1st Lieutenant Uriel Peretz, Robert Alter Shlomo Avineri Golani Brigade Special Leora Batnitzky Ruth Gavison Forces unit commander, Moshe Halbertal Jon D. Levenson dreamed of becoming the Anita Shapira Michael Walzer first Moroccan chief of staff J. H.H. Weiler Leon Wieseltier of the IDF. Ruth R. Wisse Steven J. Zipperstein On the day he was drafted, Miriam became a woman Publisher waiting for news of disaster. Eric Cohen In November 1998, Uriel Associate Publisher & was fatally wounded by an Director of Marketing explosive device planted Lori Dorr by Hezbollah terrorists. He was 22 years old. JRB Publication Committee Tragically, in March 2010 Miriam was forced to face another test. Her second son, Anonymous Martin J. Gross Major Eliraz Peretz, was killed in an exchange of fire in the 1st Lieutenant Uriel Peretz, Golani Brigade Special Gaza Strip. Forces unit commander, dreamed of becoming the Susan and Roger Hertog first Moroccan chief of staff of the IDF.