Podcasts about Ziegfeld Follies

Paulette Goddard wird in den 1930er-Jahren als Filmpartnerin Charlie Chaplins weltberühmt. Zeitlebens versteht sie es, Glamour und Geist zu verbinden. Von Melahat Simsek.

This week I got to talk with Olesya Lyuzna about her historical noir Glitter in the Dark! We dive into Olesya's lifelong obsession with the 1920s, some wild facts she learned while researching, and how humans have always been chasing really similar feelings, even 100 years ago.Glitter in the Dark SynopsisThe search for a kidnapped singer in Prohibition-era New York leads an intrepid reporter from Harlem speakeasies to the dazzling world of the theater, all while grappling with her warring passions.Ambitious advice columnist Ginny Dugan knows she's capable of more than solving other people's beauty problems, but her boss at Photoplay magazine thinks she's only fit for fluff pieces. When she witnesses the kidnapping of a famous singer at Harlem's hottest speakeasy, nobody takes her seriously, but Ginny knows what she saw―and what she saw haunts her.Guilt-ridden over her failure to stop the kidnappers and hard-pressed for cash to finally move out of her uptight showgirl sister's apartment, Ginny resolves to chase down the truth that will clear her conscience and maybe win her a promotion in the process. When private detective Jack Crawford starts interfering with her case, Ginny ropes him into a reluctant partnership but soon finds herself drawn to the kind heart she glimpses beneath his brooding exterior. Equally as alluring is Gloria Gardner, the star dancer of the Ziegfeld Follies who treats life like one unending party. Yet as Ginny delves deeper into the criminal underworld, the sinister plot she uncovers seems to lead right back to the theater.Then a brutal murder strikes someone close to her, and Ginny realizes the stakes are higher than she ever imagined. This glamorous world has a deadly edge, and Ginny must shatter her every illusion to catch the shadowy killer before they strike again. Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

My guest again this week is Christopher S. Connelly, author of the fascinating new book HELEN MORGAN — THE ORIGINAL TORCH SINGER AND ZIEGFELD'S LAST STAR.  The topics discussed in this episode include: Morgan's follow up to Show Boat, the 1929 hit musical Sweet Adeline — a star vehicle created especially for her by Jerome Kern and Oscar Hammerstein II. The 1932 revival of Show Boat and subsequent tour. Morgan's career as a nightclub hostess and entertainer at a series of night spots named for her including Chez Morgan, Helen Morgan's Summer House, and The House of Morgan. The Ziegfeld Follies of 1931. And Helen Morgan as a Gay Icon and the "Pansy Craze" stars who imitated her. Christopher S. Connelly is a film and theater historian. His work has appeared in Etcetera magazine and the Kino Lorber DVD release of Mamoulian's Applause. He is also an actor, Roman Catholic cantor, and chorister for the Atlanta Opera. When he is not writing or performing, he works IT for the Georgia Institute of Technology. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of longtime Patron Club Member Ann Welsh. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the wonderful and opulent world of Florenz Ziegfeld...in a way. Sierra's back to discuss a movie that is a series of vignettes that stars almost every MGM big named actors.Sierra's Instagram: @sierrareinMarquee Five: @marqueefivePodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodTikTok: @butasongpodTwitter: @butasongpodNext episode: Roller Boogie!

Jon, Steven and Mary travel back to 1906 O-K-L-A-H-O-M-A where they discuss the birth of musical theatre, how Laurey acts around Jud and Curly, and praise this for being so forward thinking!From the Top! link: https://linktr.ee/fromthetoppodcastPodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodTikTok: @butasongpodTwitter: @butasongpodNext episode: Ziegfeld Follies!

On this episode, Tony Brueski digs into the haunting legacy of the New Amsterdam Theatre, delving into the life and untimely death of Ziegfeld Follies star Olive Thomas. We'll explore the historical context of the theatre, the mysterious circumstances surrounding Olive's demise, and the numerous paranormal encounters reported by staff and visitors over the decades. Join us as we examine eyewitness accounts, consider psychological and environmental explanations, and discuss the cultural impact of Olive's enduring presence in one of Broadway's most storied venues. Is it all just a series of coincidences, or does Olive Thomas truly haunt the halls of the New Amsterdam Theatre? 

On this episode, Tony Brueski digs into the haunting legacy of the New Amsterdam Theatre, delving into the life and untimely death of Ziegfeld Follies star Olive Thomas. We'll explore the historical context of the theatre, the mysterious circumstances surrounding Olive's demise, and the numerous paranormal encounters reported by staff and visitors over the decades. Join us as we examine eyewitness accounts, consider psychological and environmental explanations, and discuss the cultural impact of Olive's enduring presence in one of Broadway's most storied venues. Is it all just a series of coincidences, or does Olive Thomas truly haunt the halls of the New Amsterdam Theatre? 

Front Row Classics welcomes back our friend Vanessa Ferguson and Brett Rutherford from Beyond the Mouse. The two hosts and Brandon are celebrating the 100th anniversary of MGM by taking a look at one of the greatest examples of the studio's unparalleled glamour. 1941's Ziegfeld Girl is a mammoth production illustrating what life was like for performers in the Ziegfeld Follies. The film features a star-studded cast with three great MGM stars at the center: Judy Garland, Lana Turner and Hedy Lamarr. The hosts discuss their various storylines along with the performances by Jimmy Stewart, Jackie Cooper, Tony Martin, Eve Arden and Edward Everett Horton

Front Row Classics is celebrating MGM's 100th anniversary with a movies that features a cast of some of it's greatest stars. Ziegfeld Follies is a musical revue with is essentially a series of musical numbers with no linear plot. Featuring the talents of luminaries such as Fred Astaire, Lena Horne, Gene Kelly, Judy Garland, Esther Williams & Lucille Ball, Ziegfeld Follies is MGM's version of Fantasia. Brandon is joined by Benjamin Burke from the Hollywood Babylonians podcast to break down all of the stars and musical numbers.

Bring on the Beautiful Girls Front Row Classics is celebrating MGM’s 100th anniversary with a movies that features a cast of some of it’s greatest stars. Ziegfeld Follies is a musical revue with is essentially a series of musical numbers with no linear plot. Featuring the talents of luminaries such as Fred Astaire, Lena Horne, … Continue reading Ep. 236- Ziegfeld Follies →

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it.

Citizen Cowboy: Will Rogers and the American People (Cambridge UP, 2024) is a probing biography of one of America's most influential cultural figures. Will Rogers was a youth from the Cherokee Indian Territory of Oklahoma who rose to conquer nearly every form of media and entertainment in the early twentieth century's rapidly expanding consumer society. Through vaudeville, the Ziegfeld Follies and Broadway, syndicated newspaper and magazine writing, the lecture circuit, radio, and Hollywood movies, Rogers built his reputation as a folksy humorist whose wit made him a national symbol of common sense, common decency, and common people. Though a friend of presidents, movie stars and industrial leaders, it was his bond with ordinary people that endeared him to mass audiences. Making his fellow Americans laugh and think while honoring the past and embracing the future, Rogers helped ease them into the modern world and they loved him for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Chatter is everywhere when the band gathers each week for rehearsal at the Bowen House. News, gossip, jokes. But the best conversations usually don't involve words at all.The Flood Zone — like most tight-knit groups of friends — has developed its own language. It is a shorthand in which a grin and a nod could mean, “Wow — great solo. Cool new stuff!” while a shrug and a chuckle could tell everyone, “Oops — sorry about that, guys. Coulda sworn I knew what key we're in!”But beyond gestures and facial expressions, the nouns and verbs of this wordless patter are notes and chords, rhythms and rests. This track from last week's practice session is a perfect example.Anatomy of a GrooveRegularly proclaiming rehearsal as the best night of the week, Charlie Bowen usually tries to help things along with his choice of the opening warmup tune of the evening. His selection this time was a jaunty old jazz standard.Immediately, Danny Cox responds. Listen closely and you might hear the grins sailing around the room as his band mates enjoy the guitarist's finding cool new twists in the nooks and crannies of the old familiar tune.Jack Nuckols is the first to pick up on it, and right away he answers with innovations of his own, accents with his snare and high-hat cymbals that give the song a fresh shuffle.Meanwhile, Randy Hamilton, whose solid bass line is the reliably rich and warm current under all the Flood repertoire, replies with a wink and nod — uh-huh — when asked if he'd that like a turn at the solos.The infectious joy of this frolic in the Floodisphere is summed up in Bowen's laughing out loud at himself when he grandly muffs the lyrics at one turn in the tune.The point of it all is that, as in the spoken world, the best musical conversationalists are those who also know how to listen.About the SongThe vehicle for this outing is Walter Donaldson's jazz classic “My Blue Heaven,” which was introduced to the world by Eddie Cantor in the Ziegfeld Follies back in 1927, a year before it was a hit for crooner Gene Austin who sold a whopping five million copies of his rendition.For the story behind this fascinating old tune, see our earlier Flood Watch report by clicking here.More from This Year?Finally, if you'd like to hear more of the musical conversations emanating from the Bowen House nowadays, check the 2024 edition of the Radio Floodango free music streaming service. Click here to dial in. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The elaborate story of Broadway impresario Florenz Ziegfeld Jr, the mastermind behind the infamous Ziegfeld Follies. Join me as I discuss the 1936 best picture Oscar winner: The Great Ziegfeld

Today's episode is the second part of my recent conversation with author BEN WEST, regarding his his exceptionally comprehensive new book: THE AMERICAN MUSICAL — EVOLUTION OF AN ART FORM. This book traces the American Musical's creative journey from its 19th Century beginnings through its 20th Century maturation, and on to the turn of the 21st century. Along the way, Ben West sheds new light on a myriad of shows, authors, directors, and performers including a host of often-overlooked women and African-American artists. If you missed the first episode in this series you may want to go back and catch on that before listening to this one. As our previous episode ended Ben and I were discussing the revue form, especially the annual revues such as the Ziegfeld Follies and Earl Carroll's Vanities. Today we pick up conversation with some of the other forms of musical theater that Ben explores in Part Two of his book, a section that he titles Birth Of An Art Form. Ben West is a musical theatre artist and historian who created the extensive “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021 and spotlight more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. West has lectured and spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including our newest member, Taryn Darr. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest again this week is author Maya Cantu who returns for the third and final part of our conversation about her fascinating book: Greasepaint Puritan — Boston to 42nd Street in the Queer Backstage Novels of Bradford Ropes. In this episode we focus on Ropes' 1934 novel, Go Into Your Dance, the third in his evocative backstage trilogy which also includes 42nd Street (the source material for both the classic film and the stage musical), and Stage Mother, (a sort of proto version of Gypsy). All three of these novels were heavily inspired by Ropes' actual experiences as a dancer and performer on Broadway and in Vaudeville during the 1920s. To a great extent Go Into Your Dance is a roman á clef of the star dancer & legendary showman George White and his scandals, both professional and personal, including his long-standing relationship with Broadway star Ann Pennington, fictionalized by Ropes as "Ted Howard," who rises from messenger boy to dancer to one of the most powerful figures on Broadway, and his indispensable collaborator, "Nora Wayne." Ted Howard's series of "Town Talk" revues become major competition for "Lane's Frivolities" (Ziegfeld Follies), and along the way he interacts with figures from what Maya and I dub the "Bradford Ropes Literary Universe" such as producer/director, "Julian Marsh," dance director, "Andy Lee," and "the Wilson Brothers," a thinly disguised version of the Shuberts). Of perhaps greatest interest are the two gay chorus boys, Arthur and Bobby, who befriend Ted when he joins the chorus of Marsh's musical "Sweet Sally," and play a crucial role in the plot of this remarkable novel. Maya and I also discuss the major themes that tie these novels together, as well as her remarkable six-year journey in unearthing and re-discovering the life and work of Bradford Ropes. If you missed the first two episodes in this series you may want to catch up with those before listening to this one. May Cantu is a dramaturg and historian who teaches on the Drama Faculty of Bennington College and is also the author of American Cinderella on the Broadway Musical Stage: Imagining the Working Girl from “Irene” to “Gypsy”. Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as longtime members Kelly Allen and Elizabeth Troxler., whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

LibriVox Anniversary Collections - Book 2, Part 5 Title: LibriVox 6th Anniversary Collection Overview: What do you do for the sixth anniversary? We challenged our readers to find any short works which had 'six' in the title - in any language. The result? LibriVox in all its glorious diversity: sixty-six recordings of poetry, song, short stories, folktales, science fiction, historical documents, travel, art, science, and mathematics, in Dutch, English, French, and German, from Euclid to the Ziegfeld Follies. Published: Various Series: LibriVox Anniversary Collections List: LibriVox Anniversary Collections, Anniversary #11 Author: Various Genre: Poetry, Short Stories, Short Nonfiction, General Fiction Episode: LibriVox Anniversary Collections - Book 2, Part 5 Book: 2 Volume: 1 of 1 Part: 5 of 5 Episodes Part: 10 Length Part: 1:51:10 Episodes Volume: 66 Length Volume: 12:19:35 Episodes Book: 66 Length Book: 12:19:35 Narrator: Collaborative Language: Multilingual Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: anthologies, historical, melodrama, philosophical, picaresque, sea story, tragedy, detective, mystery, horror, science, fiction, Nathaniel Hawthorne, Washington Irving, Edgar Allan Poe, Henry Wadsworth Longfellow, O Henry, Sir Walter Scott, Charles Dickens, JM Barrie, HG Wells, Francois Marie Arouet de Voltaire, Alexandre Dumas, Victor Hugo Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #anthologies #historical #melodrama #philosophical #picaresque #seastory #tragedy #detective #mystery #horror #science #fiction #NathanielHawthorne #WashingtonIrving #EdgarAllanPoe #HenryWadsworthLongfellow #OHenry #SirWalterScott #CharlesDickens #JMBarrie #HGWells #FrancoisMarieArouetdeVoltaire #AlexandreDumas #VictorHugo Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Ruth Golding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/free-audiobooks/message Support this podcast: https://podcasters.spotify.com/pod/show/free-audiobooks/support

LibriVox Anniversary Collections - Book 2, Part 4 Title: LibriVox 6th Anniversary Collection Overview: What do you do for the sixth anniversary? We challenged our readers to find any short works which had 'six' in the title - in any language. The result? LibriVox in all its glorious diversity: sixty-six recordings of poetry, song, short stories, folktales, science fiction, historical documents, travel, art, science, and mathematics, in Dutch, English, French, and German, from Euclid to the Ziegfeld Follies. Published: Various Series: LibriVox Anniversary Collections List: LibriVox Anniversary Collections, Anniversary #10 Author: Various Genre: Poetry, Short Stories, Short Nonfiction, General Fiction Episode: LibriVox Anniversary Collections - Book 2, Part 4 Book: 2 Volume: 1 of 1 Part: 4 of 5 Episodes Part: 14 Length Part: 1:20:16 Episodes Volume: 66 Length Volume: 12:19:35 Episodes Book: 66 Length Book: 12:19:35 Narrator: Collaborative Language: Multilingual Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: anthologies, historical, melodrama, philosophical, picaresque, sea story, tragedy, detective, mystery, horror, science, fiction, Nathaniel Hawthorne, Washington Irving, Edgar Allan Poe, Henry Wadsworth Longfellow, O Henry, Sir Walter Scott, Charles Dickens, JM Barrie, HG Wells, Francois Marie Arouet de Voltaire, Alexandre Dumas, Victor Hugo Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #anthologies #historical #melodrama #philosophical #picaresque #seastory #tragedy #detective #mystery #horror #science #fiction #NathanielHawthorne #WashingtonIrving #EdgarAllanPoe #HenryWadsworthLongfellow #OHenry #SirWalterScott #CharlesDickens #JMBarrie #HGWells #FrancoisMarieArouetdeVoltaire #AlexandreDumas #VictorHugo Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Ruth Golding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/free-audiobooks/message Support this podcast: https://podcasters.spotify.com/pod/show/free-audiobooks/support

LibriVox Anniversary Collections - Book 2, Part 3 Title: LibriVox 6th Anniversary Collection Overview: What do you do for the sixth anniversary? We challenged our readers to find any short works which had 'six' in the title - in any language. The result? LibriVox in all its glorious diversity: sixty-six recordings of poetry, song, short stories, folktales, science fiction, historical documents, travel, art, science, and mathematics, in Dutch, English, French, and German, from Euclid to the Ziegfeld Follies. Published: Various Series: LibriVox Anniversary Collections List: LibriVox Anniversary Collections, Anniversary #9 Author: Various Genre: Poetry, Short Stories, Short Nonfiction, General Fiction Episode: LibriVox Anniversary Collections - Book 2, Part 3 Book: 2 Volume: 1 of 1 Part: 3 of 5 Episodes Part: 14 Length Part: 3:29:57 Episodes Volume: 66 Length Volume: 12:19:35 Episodes Book: 66 Length Book: 12:19:35 Narrator: Collaborative Language: Multilingual Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: anthologies, historical, melodrama, philosophical, picaresque, sea story, tragedy, detective, mystery, horror, science, fiction, Nathaniel Hawthorne, Washington Irving, Edgar Allan Poe, Henry Wadsworth Longfellow, O Henry, Sir Walter Scott, Charles Dickens, JM Barrie, HG Wells, Francois Marie Arouet de Voltaire, Alexandre Dumas, Victor Hugo Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #anthologies #historical #melodrama #philosophical #picaresque #seastory #tragedy #detective #mystery #horror #science #fiction #NathanielHawthorne #WashingtonIrving #EdgarAllanPoe #HenryWadsworthLongfellow #OHenry #SirWalterScott #CharlesDickens #JMBarrie #HGWells #FrancoisMarieArouetdeVoltaire #AlexandreDumas #VictorHugo Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Ruth Golding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/free-audiobooks/message Support this podcast: https://podcasters.spotify.com/pod/show/free-audiobooks/support

LibriVox Anniversary Collections - Book 2, Part 2 Title: LibriVox 6th Anniversary Collection Overview: What do you do for the sixth anniversary? We challenged our readers to find any short works which had 'six' in the title - in any language. The result? LibriVox in all its glorious diversity: sixty-six recordings of poetry, song, short stories, folktales, science fiction, historical documents, travel, art, science, and mathematics, in Dutch, English, French, and German, from Euclid to the Ziegfeld Follies. Published: Various Series: LibriVox Anniversary Collections List: LibriVox Anniversary Collections, Anniversary #8 Author: Various Genre: Poetry, Short Stories, Short Nonfiction, General Fiction Episode: LibriVox Anniversary Collections - Book 2, Part 2 Book: 2 Volume: 1 of 1 Part: 2 of 5 Episodes Part: 14 Length Part: 3:49:21 Episodes Volume: 66 Length Volume: 12:19:35 Episodes Book: 66 Length Book: 12:19:35 Narrator: Collaborative Language: Multilingual Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: anthologies, historical, melodrama, philosophical, picaresque, sea story, tragedy, detective, mystery, horror, science, fiction, Nathaniel Hawthorne, Washington Irving, Edgar Allan Poe, Henry Wadsworth Longfellow, O Henry, Sir Walter Scott, Charles Dickens, JM Barrie, HG Wells, Francois Marie Arouet de Voltaire, Alexandre Dumas, Victor Hugo Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #anthologies #historical #melodrama #philosophical #picaresque #seastory #tragedy #detective #mystery #horror #science #fiction #NathanielHawthorne #WashingtonIrving #EdgarAllanPoe #HenryWadsworthLongfellow #OHenry #SirWalterScott #CharlesDickens #JMBarrie #HGWells #FrancoisMarieArouetdeVoltaire #AlexandreDumas #VictorHugo Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Ruth Golding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/free-audiobooks/message Support this podcast: https://podcasters.spotify.com/pod/show/free-audiobooks/support

LibriVox Anniversary Collections - Book 2, Part 1 Title: LibriVox 6th Anniversary Collection Overview: What do you do for the sixth anniversary? We challenged our readers to find any short works which had 'six' in the title - in any language. The result? LibriVox in all its glorious diversity: sixty-six recordings of poetry, song, short stories, folktales, science fiction, historical documents, travel, art, science, and mathematics, in Dutch, English, French, and German, from Euclid to the Ziegfeld Follies. Published: Various Series: LibriVox Anniversary Collections List: LibriVox Anniversary Collections, Anniversary #7 Author: Various Genre: Poetry, Short Stories, Short Nonfiction, General Fiction Episode: LibriVox Anniversary Collections - Book 2, Part 1 Book: 2 Volume: 1 of 1 Part: 1 of 5 Episodes Part: 14 Length Part: 1:49:20 Episodes Volume: 66 Length Volume: 12:19:35 Episodes Book: 66 Length Book: 12:19:35 Narrator: Collaborative Language: Multilingual Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: anthologies, historical, melodrama, philosophical, picaresque, sea story, tragedy, detective, mystery, horror, science, fiction, Nathaniel Hawthorne, Washington Irving, Edgar Allan Poe, Henry Wadsworth Longfellow, O Henry, Sir Walter Scott, Charles Dickens, JM Barrie, HG Wells, Francois Marie Arouet de Voltaire, Alexandre Dumas, Victor Hugo Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #anthologies #historical #melodrama #philosophical #picaresque #seastory #tragedy #detective #mystery #horror #science #fiction #NathanielHawthorne #WashingtonIrving #EdgarAllanPoe #HenryWadsworthLongfellow #OHenry #SirWalterScott #CharlesDickens #JMBarrie #HGWells #FrancoisMarieArouetdeVoltaire #AlexandreDumas #VictorHugo Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Ruth Golding. --- Send in a voice message: https://podcasters.spotify.com/pod/show/free-audiobooks/message Support this podcast: https://podcasters.spotify.com/pod/show/free-audiobooks/support

Los días y las noches de Mercer en Nueva York serían el callejón sin salida de su carrera. "Nadie sabía realmente cómo me sentía o qué tan bajo me sentía en ese momento. Fue el punto más infernal de mi vida profesional”.  Con José Manuel Corrales.

"My Blue Heaven" es una canción popular escrita por Walter Donaldson con letra de George A. Whiting. La canción se utilizó en Ziegfeld Follies de 1927. Su composición musical entró en el dominio público el 1 de enero de 2023. Grandes cantantes, mucho jazz de cuerdas, piano y saxo en esta entrega. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Instant Trivia podcast episode 1028, where we ask the best trivia on the Internet. Round 1. Category: The Highest-Scoring Scrabble Word 1: Hell,heavenor limbo. heaven. 2: Vow,knightor grail. knight. 3: Pickle,lettuce,onion. pickle. 4: Cozy,waxor quilt. cozy. 5: Butter, milk or cheese. cheese. Round 2. Category: Countries By Region 1: Thessaly,Epirus,Peloponnesus. Greece. 2: Western Plateau,Great Victoria Desert,Great Artesian Basin. Australia. 3: Roraima,Maranhao,Amazonas. Brazil. 4: Namaqualand,Bushmanland,Zululand. South Africa. 5: Chaco Central,Pampa de las Salinas,Chaco Austral. Argentina. Round 3. Category: Would You Like Flies With That? 1: The Hotlix company makes a green lollipop flavored like this fruit--appropriately, with a worm inside. an apple. 2: Crick-ettes (yep, they're made from crickets) come in several tangy flavors, including these breakfast strips and cheese. bacon. 3: These winged wood-eaters, aka white ants, are fried as a snack in Africa. termites. 4: edible.com sells ground beans for this hot beverage that have been regurgitated by weasels, cleaned and roasted. coffee. 5: The snack called Amber Insectnside features these stinging arachnids in amber-colored candy. scorpions. Round 4. Category: Nutmeggers 1: This Connecticut Yankee invented the revolver in 1836, not ".45". (Samuel) Colt. 2: This showman, famed for saying "There's a sucker born every minute, was elected mayor of Bridgeport. (P.T.) Barnum. 3: In a film, Spencer Tracy said of this actress, "Not much meat on her, but what's there is choice". Katharine Hepburn. 4: After he died, the part of Plymouth Hollow where he had his clock factory was renamed Thomaston. Seth Thomas. 5: To safeguard his "Blue-Backed Speller" in the 1780s, he was a staunch advocate of copyright laws. (Noah) Webster. Round 5. Category: Millers Outpost 1: For pioneering work in finance theory, Merton Miller won this prize in Economic Science for 1990. Nobel Prize. 2: 18th C. English comedian Josias Miller won lasting comic fame as first gravedigger in this play by Shakespeare. "Hamlet". 3: Born in Cromarty in this U.K. country in 1802, Hugh Miller did much to arouse public interest in geology. Scotland. 4: One of the most popular musical comedy actresses of the 1920s, Marilyn Miller appeared in these "follies" in 1918. Ziegfeld Follies. 5: In 1919 American lawyer David Hunter Miller helped compose the charter of this international organization. League of Nations. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

This week on Vintage Classic Radio's "Sunday Night Playhouse," we journey back to the golden era of radio with a special presentation of "Ziegfeld Follies of the Air 1936," originally broadcasted by Lux Radio Theatre on February 29, 1936. This radio play, an adaptation of the illustrious stage show created by Florenz Ziegfeld, captures the essence of 1930s entertainment and brings it to life for modern audiences. The Ziegfeld Follies, a hallmark of American entertainment, transitioned from the stage to the airwaves during the 1930s, thanks to CBS Radio. This adaptation, a blend of music, comedy, and drama, was part of a series that aired as a tribute to Florenz Ziegfeld after his passing in 1932. The radio adaptation, authored by the talented team at Lux Radio Theatre, keeps the spirit of Ziegfeld's vision alive, infusing each episode with the glamour and allure of the original stage shows. Hosted by Eddie Dowling and featuring the musical direction of Al Goodman, this episode showcases a stunning array of talent. Notable performances include Fanny Brice, bringing her comedic genius in the role of Baby Snooks; Helen Morgan, with her enchanting vocal performances; and Jack Pearl, who introduces the audience to the humorous character of "Baron Munchausen." The episode also stars Will Rogers, delivering his trademark wit, and a rare radio appearance by Ziegfeld himself. The cast list for this memorable broadcast includes: Eddie Dowling as the Host Al Goodman leading the Orchestra Fanny Brice as Baby Snooks Helen Morgan in various musical numbers Jack Pearl as Baron Munchausen Will Rogers in comedic monologues Florenz Ziegfeld in a special appearance Other notable guests include Patty Chapin, James Melton, and Benny Fields, each adding their unique flair to this historic broadcast. "Ziegfeld Follies of the Air 1936" is a rare gem, a glimpse into the past when radio reigned supreme. Few episodes of this series survive, making this broadcast a precious piece of entertainment history. Tune in to Vintage Classic Radio this Sunday for an unforgettable trip down memory lane, celebrating the legacy of one of America's greatest showmen, Florenz Ziegfeld.

Join us for two comedic turns from Judy Garland in ZIEGFELD FOLLIES and THE HARVEY GIRLS.

In this episode, I'm chatting with Nicola Harrision, author of two novels featured on Art In Fiction: Laguna Beach in the Visual Arts category and The Show Girl  in the Theater category. Highlights include:Origins of Laguna Beach as the story of a woman who had been a Rosie the Riveter in WWII only to be thanked and sent on her way at the end of the War.The Pageant of the Masters--a unique art event that's been going almost continuously since 1932.The role visual arts has played in Nicola's life as the daughter of two artists.Writing a flawed character.Reading from Laguna Beach featuring the Pageant of the Masters.California Impressionists and the art of the 1940s in Laguna Beach.Origins of The Show Girl  about a young woman from the Midwest who lands a coveted role with the Ziegfeld Follies.Role of the Adirondack Great Camps in the novel and in the 1920s.Advice about research methods.Description of Nicola's writing routines--writing is a job!What Nicola is working on now.  Press Play now & be sure to check out  Hotel Laguna and The Show Girl on Art In Fiction.Nicola Harrison's WebsiteReceive 20% Off ProWritingAidMusic CreditPaganology, performed by The Paul Plimley Trio; composed by Gregg SimpsonWould you like to support Art In Fiction? Please consider buying us a coffee on Ko-Fi. Thank you!Subscribe to Art In Fiction to find out about upcoming podcast episodes, blog posts, featured authors, and more.This website contains affiliate links. If you use these links to make a purchase, I may earn a commission. As an Amazon Associate, I earn from qualifying purchases.Buzzsprout - Let's get your podcast launched!Start for FREEPro Writing AidProWriting Aid is a grammar checker, style editor, and writing mentor in one package, ProWritingAidThank you!Are you enjoying The Art In Fiction Podcast? Consider helping us keep the lights on so we can continue bringing you interviews with your favorite arts-inspired novelists. Just $3 buys us a coffee (and we really like coffee) at Ko-Fi. Just click this link: https://ko-fi.com/artinfictionAlso, check out the Art In Fiction website at www.artinfiction.com where you'll find over 1800 novels inspired by the arts in 10 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Textile Arts, Theater, Visual Arts, and Other. Thank you!

Join us for ZIEGFELD GIRL, where Judy Garland stars alongside Lana Turner and Hedy Lamarr as women trying to navigate the intricate world of the Ziegfeld Follies.

OLD HOLLYWOOD PART 3, SAN MARINO An aging Ziegfeld Follies showgirl reminisces about her life and loves. Inspired by the ill-fated love affair of Toni Mannix and George Reeves, the first actor to portray Superman. Starring Charmaine Cruz. Written & Directed by Sharon Yablon. Original music by Marc Antonio Pritchett. Recording engineer, Mixing, and Sound Design by Marc Antonio Pritchett. Kodokushi / Lonely Death vocalist Miho (Mia) Ando. Japanese Translation by Hisato Masuyama. Lyrics to Kodokushi by Sharon Yablon: The garden calls to me The water flowing Hands of the dead reach up from the sand I am coming, I am coming This play was performed at LA True Crime at 3 Clubs Bar in 2022. Photograph to accompany play on website by Josh Kolodny. Produced by A Story Followed You Here. Please visit our website to learn more about the performers and writer, and to view the original art by painter Cassie Taggart, and the photographs that go with each play, taken around Los Angeles by various photographers. www.terribleblooms.net All Rights Reserved.

A look at New York's theater scene during the Gilded Age. Tim Dolan, theater historian and theater district tour guide (owner of Broadway UpClose) helps us take a look at the era's theater, including its shows, stars and theaters, some of which are still around. Through most of the 19th century New Yorkers thought of "Broadway" as a street, not a term that meant great theater or even a theater district.  This episode takes a look at what theater was like in the late 1800's and early 1900s just as Times Square was developing. This was the era of shows like Floradora and the Ziegfeld Follies. Tim discusses some famous performers, like the star Lillian Russell and the fascinating Julian Eltinge.   We look at a few theaters still playing to full houses from that time - the Hudson, the Lyceum, the New Amsterdam and the Belasco. (And a couple of those may contain a few ghosts that continue to wander their halls!) 

FUNNY GIRL  Music by Jule Styne | Lyrics by Bob Merrill | Book by Isabel Lennart from an original story by Miss Lennart Works Consulted & Reference :Funny Girl (Original Libretto) by  Isabel Lennart & Bob MerrillJule: The Story of Composer Jule Styne by Theodore TaylorMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Don't Rain on My Parade” from  Funny Girl (Original Broadway Cast Recording) | Music by Jule Styne | Lyrics by Bob Merrill |  Performed by Barbra Streisand"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

A large public spectacle features an heiress at its center, but all that attention comes with other warnings. April 1932, Barbara Hutton serves the primary role in the Spirit of Adventure charity pageant at Madison Square Garden.  The whole event is a family affair, and many others participate over the night's activities. Other people and subjects include: Marjorie Merriweather Post Hutton, E.F. Hutton, Franklyn Hutton, Irene Hutton, James “Jimmy” H.R. Cromwell, Phil Plant, Evalyn Walsh McLean, Gaston Means, Charles Lindbergh, Charles Lindbergh, Jr., Sophia Brownell Hutton, Eleanor Van Alen – Mrs. James “Henry” Van Alen, “Birdie” Virginia Graham Fair Vanderbilt – Mrs. William K. Vanderbilt, Amelia Earhart, George Palmer Putnam, Eleanor Smith, Kermit Roosevelt, Vincent Astor, Captain Robert Bartlett, Walter Granger, Martin Johnson, Osa Johnson, George Eastman, bullfighter Sidney Franklin,  Aubrey Van Nostrand, Mrs. Tony Biddle, Jr., Earl of Gosford, Countess of Gosford Beatrice Claflin Acheson, Mrs. “Georgia” Lucius Boomer, Florenz Ziegfeld, Mrs. Florenz Ziegfeld – Billie Burke – Glinda the Good Witch The Wizard of Oz, Netflix The Diplomat, Joseph Urban, Fred Ward, June Blossom, Mrs. William Randolph Hearst, Lila Agnew Stewart, John Harkrider, Dean Jennings, socialites, exotic, adventure, explorers, historical explorers, retrospect, radium glowing costumes, bodyguards, arrest -- Extra Notes / Call to Action:New York Adventure Club www.nyadventureclub.comCheck out Gary Lawrance's webinars on the Gilded Age mansions & owners Share, like, subscribe                                                                                                                                       --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Red Sails In The Sunset by Casani Club Orchestra, Album The Great Dance Bands Play Hits of the 30sSection 2 Music:On The Beach At Bali Bali by Billy Merrin & His Commanders, Albums The Great Dance Bands Play Hits of the 30s & Tea Dance 2Section 3 Music: Sing A Song of Sunbeams by Ronnie Munro & Orchestra, Albums Tea Dance 2 & The Great Bands Dance Bands Play Hits Of The 30sEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands -- https://asthemoneyburns.com/TW / IG – @asthemoneyburns Facebook – https://www.facebook.com/asthemoneyburns/

A popular tap dancer and a highly decorated World War I general both appear at a popular dining hotspot, so has the hostess finally solved her money troubles? March & April 1932, Cobina Wright's Sutton Club is a successful hotspot.  She has the famous African American vaudeville comedy duo Buck and Bubbles performing.  She also hosts the famous war hero General John Pershing amidst his celebrations commemorating World War I. Other people and subjects include: John “Bubbles” Williams Sublett, Ford “Buck” Washington, Bill “Bojangles” Robinson, Private Henry Johnson, Private Needham Roberts, Micheline Resco, James “Jimmy” HR Cromwell, Cornelius “Neily” Vanderbilt III, Grace Wilson Vanderbilt, President Herbert Hoover, President Woodrow Wilson, President Bill Clinton, President Barack Obama, Brigadier General John Ross Delafield, World War I, Victory Parade, War Museum in Paris, Fort Bliss, mentor, World War II generals, Dwight D. Eisenhower, George Marshall, George Patton, Douglas MacArthur, Nita Patton, 92nd Infantry Unit, 93rd Infantry Unit, Buffalo Soldiers, separate but equal, racism, 369th Infantry Unit, Harlem Hellfighters, Colonel William Hayward, Battle of Argonne, French Croix de Guerre, Harlem Hellfighters Band, James Reese Europe, Noble Sissle, Eubie Blake, Blackbirds Orchestra, jazz, Harlem Renaissance, Duke Ellington, Walter Donaldson, Nicholas Brothers, Cab Calloway, Lena Horne, Nat King Cole, “Black Garbo” Nina Mae McKinney, Louis Armstrong, Bessie Smith, Coleman Hawkins, Kentucky State Fair, New York Palace Theater, Ziegfeld Follies, Fred Astaire, Al Jolson, Eddie Cantor, Dannie Kaye, Tuskegee Choir, Radio City Music Hall, BBC broadcast, Prince of Wales – future King Edward VIII – Duke of Windsor, George Gershwin, Porgy & Bess (1935), Carmen Jones (1946), Vietname USO tour, Eddie Fisher, Newport Jazz Festival, Sammy Davis, Jr., Gregory Hines, Michael Jackson, Greta Garbo, Ethel Barrymore, Lionel Atwill, revisionist, apologist, historiography, modern ideologies, Lil Colonel (1935), Shirley Temple, Michael Jackson's chimpanzee Bubbles, US Senator from New York Charles Shumer, Purple Heart, Medal of Honor --Extra Notes / Call to Action:Rhythm Tap Dance 1937 (John Bubbles)https://www.youtube.com/watch?v=mq38QLBE6wM Buck and Bubbles Varsity Show 1937https://www.youtube.com/watch?v=dCpKx64EivE THE SUN QUEEN | trailer | American Experience PBShttps://www.youtube.com/watch?app=desktop&v=e07pJ0FPCGk What's Her Name Podcast by Dr. Katie Nelson and Olivia Meiklehttps://whatshernamepodcast.com/https://pod.link/1320638747 Share, like, subscribe                                                                                                                                       --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music:The Younger Generation by Ray Noble, Album The Great Dance Bands Play Hits of the 30sSection 2 Music: The Charleston by The Savoy Orpheans, Album Fascinating Rhythm – Great Hits of the 20sSection 3 Music:Hep! Hep! Jumpin' Jive by Nat Gonella & His New Georgians, Album Dance CrazyEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands --https://asthemoneyburns.com/TW / IG – @asthemoneyburns Facebook – https://www.facebook.com/asthemoneyburns/

On Today's Show Vince will Rate and Review: Ziegfeld Follies (1946),  The Breakfast Club (1985),  Magic Mike (2012),  Magic Mike XXL (2015),  Magic Mike's Last Dance (2023)   If you'd like to become a Producer or see more content, check out thedailyratings.com   TimeCodes: Ziegfeld Follies:  2:50 The Breakfast Club:  17:40 Magic Mike:  26:22 Magic Mike XXL:  39:08 Magic Mike's Last Dance:  50:20

This week on the blog, a podcast interview with Noah Diamond and Jim Cunningham, talking about the pleasures and perils of playing Groucho Marx.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Noah Diamond website: https://www.noahdiamond.com/“Gimme a Thrill: The Story Of "I'll Say She Is," The Lost Marx Brothers Musical” -- https://tinyurl.com/28ftau5eEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Noah Diamond Transcript JOHNLet's go back to the beginning. We'll start with Noah and then go to Jim. What's your earliest memory of Groucho Marx or the Marx Brothers? NOAHWell, for me, it started in a kind of roundabout way, when I was a very little kid. Before I could even read, I was really interested in books. And I had my collection of Dr. Seuss, and all the books that would be read to me. But what I really liked to do was go downstairs where my parents had, in the living room, bookshelves lining the walls. And their books were really interesting to me. I just knew there were secrets there, you know? They had like big art books and books of poetry and maybe my first experiences with words were looking at the spines of the books in the living room. And one of the books they happen to have was then fairly recent book, Joe Adamson's Groucho, Harpo, Chico and Sometimes Zeppo, which is, I think most Marx Brothers fans would say it's the best loved book about them, certainly and I think the best written. That book came out in 1973. So, it's 50 years old this year and for some reason, as a tiny kid, that was a book that I took off the shelf. It was interesting that it had silver lettering on the spine and little icons, a harp, and what I would come later to recognize as a Chico hat. “Oh, look, this is interesting.” And I started looking through it, and I saw all these pictures. And the photographs of the Marx Brothers were just something to grapple with and it seemed a little familiar to me. My world was the Muppets and Dr. Seuss and Maurice Sendak. The Marx Brothers appeared in these photographs, like there was some continuity there and I also found them a little scary. Groucho in particular, that's quite a face for a child to reckon with. So, that was a book that I looked at a lot when I was just little more than a baby. I wouldn't really see the Marx Brothers in their movies until I was 12. Partly that's because, I'm just old enough to have had a childhood where it wasn't so easy to find old movies. And I sort of had to wait for home video to come along. And when it first came along, it's not like all 13 Marx brothers' movies were at the local Blockbuster.It was that that journey, that constant searching for things that characterized life in the analog world. So, it was very gradual in between those two times.Rather than blow your whole episode on this answer: in between the very little boy looking at pictures in Joe Adamson's book, and the 12-year-old finally, like seeing Duck Soup, and a Night at the Opera on video, there were many years where the Marx Brothers always seemed to be right around the corner. I would encounter them in Mad Magazine, or adults I knew might refer to them. And I sort of came to understand that the nose and moustache and glasses had something to do with Groucho. I was aware of them as a kind of vapor increasingly during those, I guess, nine or ten years between discovering the book and seeing the films. JOHNJim, how about you? Where did you first encounter them? JIM I was an enormous and still am a Laurel and Hardy fan. There was a local television show here in the Twin Cities where I live on Sunday mornings, hosted by a former television child's television host named John Gallos who played Clancy the Cop. And so I came to the Marx Brothers, kind of grudgingly because I was such an enormous and still am Laurel and Hardy fan, that I poo pooed the Marx Brothers for many, many years. I started watching Laurel and Hardy as a little kid. I mean, 7, 8, 9 years old. Every Sunday morning, I would rush home from church and plop down in front of the TV to watch Laurel and Hardy. They were sort of my comedic touchstones, if you will. And then the Marx Brothers were kind of off to the side for me. And I went to the Uptown Theater, John, here in the Minneapolis area … JOHN You crossed the river from St. Paul and came to Minneapolis, you must have really been interested. JIMOh, I only go across the river for work. This was a point where I was not working yet. And I saw a Night at the Opera and you know, was convulsed and then devoured everything I could get my hands on after that. The Marx Brothers were eye opening for me, just in terms of oh my gosh, this whole thing is so different. I was reading in your book that Frank Ferrante said “I was raised by Catholic nuns and I wanted to sort of do to the Catholic nuns would Groucho would do to Margaret Dumont.” And I was like, well, that's exactly right. Because I too was raised by Catholic nuns, and that sort of energy was really attractive to me as a sophomore in high school. And so I fell in love with them. And then, you know, anything I could get my hands on, I watched and read and loved them to this day. I still love Laurel and Hardy quite a bit too. JOHNOkay. Noah, this is just my own experience and I'm wondering if you guys have had the same thing: that entering the world of the Marx Brothers was actually a gateway to a whole bunch of other interesting stuff. I mean, you get into the Algonquin table, you get Benchley, and Perlman and into other plays of Kaufman. And you know, you're reading Moss Hart, and all sudden you look at the New Yorker, because, you know, he was there. I mean, did you find that it sort of was a spider web? NOAH No doubt about it. Yeah, that's very true. It's learning about them biographically and the times they lived in, the circles they traveled in; and partly it's in order to understand the references in their films. That's one of the great things about sophisticated verbal comedy: it's an education, and particularly if you're a kid. So, yes, through comedy and show business in general and the Marx Brothers in particular, I learned, I hesitate to say this, but probably just about everything else I know from following tributaries from the Marx Brothers. JOHNDo you remember the first time you performed as Groucho? NOAHThe first time I played Groucho in front of an audience was in a talent show, a school talent show in, I think seventh grade. I performed with my brother and sister as Harpo and Chico. They're both a little younger than me and by the time we became the Marx Brothers, they were so accustomed to involuntary service in my stock company. They were veterans by that time, they had done living room productions of Fiddler on the Roof where they had to play everyone but Tevya. And we did the contract routine from A Night at the Opera, with a little bit of Harpo stuff thrown in. JOHNOkay. Fantastic. Jim, how about you: first time as Groucho in front of an audience? JIM The first time in front of an audience as Groucho was really the first time I played Groucho. Just as I have a deep and abiding love and respect for the art of magic (and want to see it, want to read about it), I don't want to perform it. Because it is a thing in to its unto itself and if you do it poorly, it's horrible. So, I love to see it. I just don't love to perform it. And I felt the same way about Groucho. So, I went kind of kicking and screaming, to a staged reading of The Coconuts that Illusion Theater did. We really just carried our scripts because there was just a couple three rehearsals, but we read the whole thing and sang some of the stuff that was in it. And then that morphed from there into an actual production of The Coconuts and we did it both at the illusion theater in Minneapolis, and then it moved to the Fitzgerald Theater in St. Paul. When the Marx Brothers performed there, I think it was called The World theatre. So, I love that kind of thing. I love standing where Wyatt Earp stood or standing where William Shakespeare stood. And so, to be doing a play that Groucho did on a stage that Groucho did it. I should have gotten out of the business right then. I should have said it, I've done it. What's left? JOHNExcellent stories. Noah, have you ever done The Coconuts or Animal Crackers? NOAHI haven't done The Coconuts. I would love to. Animal Crackers … One of the subsequent childhood Groucho appearances was when I was 14 years old. I had a relationship with this community theater. At this point, I was living in South Florida. I spent the first part of my life in Connecticut, and then lived in South Florida when I was a teenager and New York since I grew up. And this was in the Florida years. There was a local theater in a town called Coral Springs, it's not there anymore, but it was called Opus Playhouse. And it was a great place that helped me a lot and gave me a chance to put on shows and learn how to do things. And I just wanted to do Animal Crackers. So, I did a bootleg production completely unauthorized. I didn't even have the script. I just wrote the movie down line by line to have a script of Animal Crackers. And so I've sort of done it. But you know, I really shouldn't put that on my resume as I was 14 and... JIMIt counts for me. Anybody who's willing, as a 14-year-old, to go line by line through a movie and write it down, you did the show in my book. NOAH That just shows the desperate measures we had to take in those days. There was no internet. Little kids writing down movies, you know? JIM Exactly. JOHNIt's charming. It's absolutely charming. So, what is it Noah that draws you to play Groucho? What is it about that guy? NOAH Yeah, what is it? I know, it's funny. ‘What is it about Groucho' is a question we can grapple with forever, even aside from the question of why try to be him? I think one thing that definitely true is that as soon as I saw the Marx Brothers and heard his voice and watched him moving around and interacting, the urge to be him, or at least to behave like him, was immediate. I mean, it was right there. Now, I was already a kid who was a little ham and a performer and would be inclined to find my role in anything, anyway. But nothing, no character other than myself, ever grabbed me the way Groucho did or ever has, really. And I think part of it is what you mentioned, Jim, that Frank Ferrante has said, part of it is the instinct to rebel against authority. And that's unquestionably part of the Marx Brothers act, and a big part of the Marx Brothers appeal I think to kids. But I think it's a little more like watching a great violin player and deciding you want to play the violin. It just seemed to me that, as far as embodying a character and getting laughs and singing songs, nobody ever did it like him. Nobody ever seemed to be speaking directly to my sense of humor and my sensibility. I just wanted to talk in that voice. I wanted to play that instrument. JOHNJIM, what about you? JIM Nothing. Really, truthfully, I did not want to do it. I still don't want to do it. But I would do it again tomorrow, if somebody asked.I think trying to find your way to entertain an audience through somebody else is tricky for me. I'm better at playing me than I am at playing anybody else. And so the desire to play Groucho, I have sort of put it inside me, and I have an eye on it all the time. I use Groucho's sensibility without the grease paint, and I'd like to believe that I do. I'm certainly not in Groucho's league. Laurence Olivier said it: steal from everybody, and no one will know. And so I have, but the desire to put on the grease paint and wear the frock coat is akin to me saying, I want to do a magic show. I just I love to go to a magic show. I love to watch a Marx Brothers movie. But I'm really kicking and screaming to play him again, because the mantle is so huge and heavy and I don't think that I'm particularly serviceable as GrouchoIt wasn't until we were halfway through the run of The Coconuts when a light bulb went off in the dressing room, while I was putting on the makeup: there's a difference between being faithful to the script of The Coconuts and what we learned, and being faithful to the Marx Brothers sensibilities, if that makes sense. There's the letter of the law versus the spirit of the law.About halfway through that run, I started doing things that I felt were more attune to the spirit of the Marx Brothers, then the letter of the script. So, I was calling other actors onto the stage. I was going out into the audience, I took a guy out and put him in a cab one night. That sort of anarchy that people talk about when you read about the Marx Brothers in their heyday, about Jerry Lewis and Dean Martin in their heyday: I don't know what's going to happen and I want to be there because of that.And for all I know, it was the exact same show night after night after night, and they just gave the impression that it was crazy. But that idea for me still percolates. This the idea of, am I creating a museum piece or am I trying to, in some way, channel that anarchy for an audience? The other show that I do that has some relevance here is we do a production of It's a Wonderful Life, at Christmas time, as a live radio play. And that too: what am I doing? Are we trying to capture the movie or are we creating something different? So, finding that sort of craziness is what I was most intrigued by and still am. NOAH There's not a lot of roles like that. If you're playing one of the Marx Brothers in Coconuts or Animal Crackers, or I'll Say She Is, it's not the same as playing Groucho Marx in a biographical piece about his life. Nor is it like playing Sherlock Holmes, a very familiar character, where there is room to make it your own. I suppose people have done that with Groucho, too. But generally, if you're in a production of one of the Marx Brothers shows, the assignment is to try to make the audience feel like, if they squint, maybe they're watching the Marx Brothers. JOHN Noah, when you tackled the formidable and important task of recreating, resurrecting, bringing back to life, I'll Say She Is, were you having that same sort of thing Jim was talking about? Balancing the reality of what may have happened against you don't really know for sure and the spirit of it? How did you approach it? But first, why did you pick that show? And then how did you bring it back to life? JIMCan I back up? Because the three of us at this table are enormous Marx Brothers fans. So, if you say I'll Say She Is, we have a frame of reference. But people listening to this may go, ‘what the hell is I'll Say She Is?' So, can you start with that? Can you start with what is I'll Say She Is and how did you come to it, because I think for the layman who's not a huge Marx Brothers fan, they don't even know what we're talking about. NOAH Yes, absolutely. In a nutshell, the Marx Brothers, although primarily remembered for their movies, were already halfway through their career by the time they ever made a film. Most of their lives were spent on stage. They had a long period in vaudeville, and then in the 20s, they became Broadway stars. And that was really the beginning of the Marx Brothers as phenomenon we would recognize. They did three Broadway musicals. The first was I'll Say She Is, a thinly plotted revue, and the second was The Coconuts, and the third was Animal Crackers. By the time they were making talkies, they had these two very prestigious vehicles, Coconuts, and Animal Crackers, written by George S. Kaufman and Morrie Riskin, with scores by accomplished composers, Irving Berlin and Kalmer and Ruby. And there was no question but that those would be the first two films.And as a result, I'll Say She Is just kind of faded into history. It was the show they'd never made it into a movie and no script survived or at least no complete, intact script survived. So, if you were a kid like all the Marx maniacs out there, reading every book you can get your hands on and learning everything you could about the Marx Brothers, I'll Say She Is just had a sort of intrigue about it. What was that show? Everyone knew from those books that the highlight of the show was the Napoleon scene in which Groucho played Napoleon and the other brothers played the various consorts of Josephine, who are always materializing every time he turns his back. And that scene was touted as like, that's really the arrival of the Marx Brothers. That was the essence of them, before they ever met George S. Kaufman. It's just such a tantalizing thing if you love them.I think—because I love the theater and I love musical theater—a lot of my other interests are also right in the bullseye of I'll Say She Is: Broadway, New York City history. I'm a big fan of the culture of the Jazz Age in the 1920s. And this was just so appealing to me. So, every time a new book about the Marx Brothers would fall into my hands, the first thing I would do is look up I'll Say She Is in the index and read all the associated stuff first. I just had a little obsession about it. In The Marx Brothers Scrapbook, which is a book I'm sure familiar to both of you and many of the fans, that book reprints the entire opening night program from I'll Say She Is on Broadway. When I was 12 years old, I took that book to the library and photocopied it, and cut out the pages, and made myself a little program so that I could pretend that I had seen I'll Say She Is. Fast forward many years, and I'm an adult doing theater in New York. My wife and collaborator, Amanda Sisk and I were doing political satires, writing these musicals that would be ripped from the headlines. And we did that for a long time before realizing that the time it takes to develop a musical is too long for topical material, so we could never really perfect our work. And we decided to stop doing those shows, which were a bit of a dead end for us creatively. And I found myself after many years of doing one thing trying to figure out, well, what's my thing going to be now?And I think it was probably inevitable that I would just sort of go home to the Marx Brothers. ‘Well, let's do a Marx Brothers show. I haven't done that in a while, you know?' I don't know, it seems a little bit silly to call something so unlikely, inevitable, but I just think I was hurtling toward it from the day I picked up Adamson's book when I was three or four years old. JIM It had to have been both a joyful and frustrating experiences as you tried to recreate something that doesn't exist. The Napoleon sketch: we did a version of that Napoleon sketch. The only line I can remember from that Napoleon sketch was, “I'll be in Paris tomorrow, don't wash.” That's the only line I can remember from the entire show. I think of that. Was it super fun or was it super frustrating? Or was there a combo? What was that like? NOAHIt was fun. I mean, writing is always a combination of both of those things. Stephen Sondheim once called it agonizing fun. That's kind of what almost any writing process is. This one, I wouldn't have taken on the idea of doing I'll Say She Is if enough of it didn't survive and how much of it seemed to have survived. Before my research, I think what I was really thinking is that I would maybe try to write a book about I'll Say She Is, and maybe figure out some way to do the Napoleon scene on stage. But realizing that it could be a show again, that happened kind of slowly as material started to accumulate. Yes, the Napoleon scene has survived and that's been known for a long time. Also, the first scene of I'll Say She Is is one that's familiar to Marx Brothers fans, because it was an old vaudeville piece that they filmed in 1931. The theatrical agency scene. [Audio from the Clip] NOAH So, those are two big pieces of material were a given. And then as for the rest of it, I became aware, by relying on the work of other researchers, that there was a type script I'll Say She Is at the Library of Congress. Also, another slightly different one at the American Musical Theatre Institute run by Miles Kruger. And I was able to get my hands on the type script. Now it is on one hand, it's the script of I'll Say She Is. That isn't quite that what it is, though. It's a 30-page document that they went into rehearsal with. And, you know, going into rehearsal with the Marx Brothers, it's an outline with dialogue. It's what we would now refer to as a treatment. and there is some dialogue in it, some of which is recognizable from later Marx Brothers projects. Some of it is very sketchy. Of course, almost everything Harpo does is merely indicated: stage directions like, Harpo business, or sometimes, business with hat. But this provided something like 20% of the dialogue and the continuity for I'll Say She Is. There were no lyrics in it, but it did specify where the songs would fall. So, my first attempt to write a script for this was a combination of material from that type script and things learned from the playbill, from reading every account of I'll Say She Is I could find in books and interviews. And then I started to search old newspaper archives, which was just getting easier to do at this time. I was embarking on this sort of major I'll Say She Is research period around 2010 and it was just starting to be possible to read decades worth of old newspapers on the internet. It's gotten much easier since then. So, by reading every review I could find FROM every city I'll Say She Is had played in 1923, and 1924, and 1925, I started to realize there's material here. There's reviews that quote dialogue or describe scenes that aren't in the type script and that I didn't know about before and maybe nobody did (unless they've read this copy of the New York Clipper from 1924). And some of the songs from the original I'll Say She Is were published in 1924 and it was fairly easy to get my hands on those. But that represented only about half the score, maybe a third of the score. A number of the original songs remain missing. And of those, I did manage to find a couple. And to fill in the gaps, I found other songs written by the same people. Will Johnstone was the lyricist (Marx Brothers fans will know him as a screenwriter on some of their later films) and his brother Tom Johnstone wrote the music. Well, the Johnstones also wrote six or seven other Broadway shows during the same period. So, I was able to find some of those songs and interpolate them and do a sort of general polish on the lyrics on the surviving lyrics.When I was bringing in other songs, sometimes I would write the lyrics. I know there was a song here, and I know what it was about. So, I'll write a lyric about that and whenever I had to do that kind of thing, where I would invent something to fill a gap, I would always try to do it very conscientiously, by relying on what I knew about the Marx Brothers act up to 1924. And also by immersing myself in Will Johnstone's writing. He's an interesting, very unsung artist too; he was a very prolific newspaper writer and cartoonist and did a little bit of everything. So, by reading everything I could get my hands on by Johnstone, it made it a little easier to write what he would have written for them. JOHNThat's just fascinating. JIM It really is. The whole thing to me is it's so titillating and so exciting that even though I say I never really want to do Groucho ever again, if you said, I'm gonna send you a copy of I'll Say She Is, I produced that. I'd be in that. I put that up right now. NOAHIt could happen, Jim. I think what you said earlier, Jim, about playing Groucho, you feel like there's this mantle of greatness that is, is impossible to live up to. I feel that way too. It is impossible. I mean, playing Groucho on stage, you're kind of making a deal with the audience, like, ‘Hey, we both know, I'm not him. I'm not. Nobody will ever be that good at doing that. But if you'll meet me in the middle, I think I can fool you for a minute.' It becomes a sense of responsibility. And it's the same thing with reviving, I'll Say She Is. If we're gonna put that title on a marquee, and charge people money to see it, boy, this better be the very best we can do. JOHNSo, once you started reconstructing I'll Say She Is, were you always planning on putting it on its feet? NOAH Well, probably, the answer is definitely yes. I think the question is, would I have admitted it to myself early on? I do remember nibbling around the edges of it for a while before looking at squarely in the face and saying, ‘We have to do this.' We have to do this on stage for that very reason: because it is so daunting. It's daunting to produce a big musical, even without all the baggage and the history and responsibility of the Marx Brothers and I'll Say She Is. JIM I looked at the pictures of your production and was flabbergasted at the cast and how big the cast is, and the costumes for the cast. It was like, this is a big deal. NOAH One thing that was very lucky—because of the nature of the project, and because it's so interesting and historical—it attracted a lot of really talented people, all of whom worked for much less than they deserved. We have done it twice at this point: the Fringe Festival production in 2014 was the first, full staging and the book Give Me a Thrill is current through that production. Then in 2016, we did an Off-Broadway production, which was larger and fuller and ran longer and was even more fully realized. There will be a new edition of a book covering that production. But even that is now some years ago.There is in the future, I think for an even bigger, even more 1924-faithful I'll Say She Is. And I also think there may be a lightweight version of I'll Say She Is. I think we may experiment with that, saying, ‘Oh, okay, it's a 1920s revue. It has a line of chorus girls. It's spectacular. But what if we did to it what Marx Brothers fans often want to do to the film's and just boiled it down to just the Marx Brothers gold and do an I'll Say She Is Redux?' There two licensable versions of Animal Crackers. There's a small cast multiple role kind of version, and then there's the big full musical. JOHNIt's like the Teeny Sweeney. The idea of you offering and creating a version that would be a little easier for most theaters to do. I think is really a smart idea. JIMKnowing the Marx Brothers, and knowing Coconuts and Animal Crackers, because of course, they're enshrined in celluloid and we can look at them whenever we want. There's a story to both of those things, loose as it may be. I wouldn't say either The Coconuts or Animal Crackers were a revue. Is the same true of I'll Say She Is? Is it a revue where we're just going from sketch to sketch to sketch or song to song to sketch, and they're not connected by a through line the way Coconuts or Animal Crackers are? NOAHIt's an interesting question and the answer is kind of both. One thing that has happened is I think the word revue is now understood more narrowly than it was in the Marx Brothers day. When we use the word revue now, we generally mean exactly what you're describing: a variety kind of evening, with a series of unrelated sketches or songs. But the truth is in the 1920s, particularly, revues tended to have either thin plots or themes that tied them together. And that's exactly what distinguished a Broadway review or what would have been called rather snootily, a legitimate revue. That's what distinguishes it from vaudeville, which really was one act after another and what the third on the bill does on stage has nothing to do with the content of what was second on the bill. A lot of these Broadway revues, including the Ziegfeld Follies, they would be built on themes or plots. An example would be As Thousands Cheer, Irving Berlin's famous revue. It doesn't have a plot that runs all the way through it, but each piece is based on a news story of the day. It's not just a collection of songs. In the case of I'll Say She Is, it was a thinly plotted revue. And the thin plot is: a bored heiress is looking for thrills. That's the plot. It makes Animal Crackers look very sophisticated. It begins with a breaking news that a society woman craves excitement, she has promised her hand, her heart, and her fortune to whoever can give her the biggest thrill. Very saucy stuff. So, each scene or musical number in the show is vaguely an attempt to give her a thrill. It's kind of like a clothesline. You can hang anything on it. So, the Napoleon's sketch—in the context that was provided for it in 1924—is a fantasy sequence where the ingenue fantasizes that she's in the court of Napoleon. That's the attempt of the hypnotist to give her a thrill. In order to make the show a little more compact and a little more accessible, in my adaptation I did nudge it a little closer to being a book show. I did I strengthen the plot a little bit. I just added some reinforcements, some undergirding to the plot. And some things in the show that weren't connected to the plot, but could have been, I made some little connections there. And also, some of the sequencing was a little perverse in terms of how the evening built. So I thought, with the help of many people who worked on the show with me, but I'll mention Travest-D and Amanda Sisk, who had a lot to do with the development of the script, we figured out that the Napoleon scene really should go at the end of Act One. And the courtroom scene should go at the end of Act Two. And other little concessions like that to make a contemporary audience feel some sense of satisfaction. JOHNYou both do such a nice job of Groucho—even though one of you has to be dragged into it kicking and screaming. What is, from your experience, what is the hardest part of being Groucho on stage? NOAH Well, for me, the most challenging part is the physical performance. That's the part I work on the most. When I see video of myself as Groucho, that's the part—if I notice things to improve on next time—they're usually physical things. I think that may have something to do with my particular skill set. I'm very comfortable vocally. I like my vocal version of Groucho and it sounds the way he sounds to me. I generally feel confident with that, although off nights do happen. But physically, being him physically, partly because he was so verbally overwhelming, we often overlook what an interesting and unusual and brilliant physical performer, Groucho Marx was. I can't think of anyone who moved the way he moved. Both his physical body was unusual, his shape, and the way he—especially in the early films—he like has no gravity. He's sort of weightless.There is a tendency to make him too manic and to try to match his impact by being loud and fast and very abrupt in your movements. Or overly precise. He wasn't that precise, actually. He was pretty sloppy in the way he moved. But there was a grace in all that sloppiness…The difficulty of putting it into words—that you're experiencing with me right now—is part of where the challenge is. There are times when I feel good about the physical performance, and I nail something, a move of his that I've been working on. But I think that's the part that's the most challenging. JOHNOkay, Jim, how about you? What did you find most challenging? JIM You know, what I found most challenging is dealing with the mantle of Groucho. Not just the audience's expectations of what that means, but more problematic, my own belief system, about what I'm capable of, and how far short of what the man was and did on stage my version of him is.So for me, I always had to really kind of get myself ramped up in order to believe that, okay, I'm going to go on, I'm going to do this. And it was a constant battle for me every night before I would go on. Am I capable of this? Is there anything about this that's even moderately entertaining for an audience? And I just couldn't get by that and I still can't, you know, I still can't get that out of my head. Now, I separate that for a second and set it aside with It's a Wonderful Life. I'm very happy with what I've achieved in It's a Wonderful Life. Very happy with, what I've done, me personally, and the show in general. But my performances, I'm very happy and satisfied with them and I'd love to do them and can't wait till December comes around so I can do it again. But the Marx Brothers thing is that there's a fear factor, I guess that I'm going to let him down in some way and I can't help but let him down. There's a certain love and respect I have for him, in the same way that I have love and respect for magic, that I just don't want to be a bad Elvis impersonator. You know what I mean? That's what I don't want to do. There's a big difference between Elvis and the best Elvis impersonator and you can have joy in both. But, you know, Groucho is so far—and nothing against Elvis, please. If you're listening to this podcast, and you think I'm about to diss Elvis, you're right. But I don't mean it that way. There's a vast difference between what Groucho was on screen and what Elvis was on screen. Elvis could sing. Groucho could do anything. And that's the difference, and I can't do anything. I can barely sing. I'm lucky enough to have done it and I'm happy to have done it and when people talk to me about it. ‘Oh, I saw you was Groucho. You were excellent.' And I want to say, ‘Apparently, you don't know the Marx brothers. I wasn't.' NOAH That's a very Groucho response, that hey, you are great in that show, and you have no taste, you know? JIM That's exactly right. JOHNWell, I could do this all night, but we're not going to do that. I want to just wrap up with a couple Speed Round questions, kind of general Marx Brothers questions. Noah, do you have a favorite of the movies? NOAH Animal Crackers, because I think it's the closest we can get to seeing them as a stage act at the peak of their powers. JOHNOkay, do you have a favorite scene? NOAHYes, I feel guilty because my favorite Marx Brothers scene only has one Marx Brothers in it and I I love Harpo and Chico and I even love Zeppo. I have to say that, but my favorite scene is the strange interlude scene in Animal Crackers. [Audio from the Clip] JOHNTo have been there live, to watch him do that, to see him step forward. I would rank that very high for my favorite scene. Jim, do you have a favorite movie and a favorite scene? JIMYeah, I think so. Largely because it was my first experience of the Marx Brothers, nothing for me compares to a Night at the Opera. If I am clicking around and Night at the Opera is on, we stopped clicking and that's what it is. And anybody who is in the house, my wife or the kids, I'm sorry, but you'll either have to find another TV or go out to play, because this is what we're going to be watching for a while And you know the line of Groucho's, what happened? [Audio from the Clip: “Oh, we had an argument, and he pulled a knife on me so I shot him.”]. JIM That right there. When I heard that the first time, I was afraid I'd have to leave the theater. I started laughing so hard, and I couldn't come back from it. It just kept coming to me. I kept thinking of that well past it and was giggling about it and so that whole ‘belly up, put your foot up here.' That whole thing to me is as good as it gets. JOHNOne other little alley, I want to go down. There's another great book and Noah, if I get the title wrong, please correct me. Is it Four of the Three Musketeers? NOAH Yes. JOHNWhich tracks in exhausting detail, every stage appearance of their stage career. As you look through it—we're all getting older, all three guys—you begin to realize the weird gap or you think something was a long time ago and it turns out it wasn't. I was born in 1958 and realized just recently that Abbott and Costello Meet Frankenstein was made a mere 10 years before I was born. The Marx Brothers on stage in the 20s, or late teens and 20s, they're traveling everywhere in the country. They came to Minneapolis a lot. They went to Duluth a lot. And, you know, a mere 40 years before I was born, I could have gone and seen them. So, my question to you guys is: you have a chance to see the Marx Brothers live on stage in that era. What is your pick? What do you go see? You have a time machine. You can go you can go see one thing or two. I'll give you two, because I have two. NOAHWell, I'm glad. I'm glad you're given me two, because the obvious answer is I'll Say She Is and.... JIM That would be my answer too. JOHN Bring your iPhone and hit record. Yeah. NOAH Yeah, right, bootleg it. Nobody knows what an iPhone is anyway. Exactly. JIM And then you just go right back to what you did as a 14-year-old line by line. JOHNOkay. So, your second choice after the obvious, I'll Say She Is? NOAH I guess it would be to see some of the even earlier stuff, satisfying the urge to see them at their best on Broadway. You know, there's a lot of curiosity about the act up really up to 1920. In 1920 or 21, there's a big change. That's when Groucho painted the moustache on and drops the German or sometimes Yiddish accent he had been using before. Harpo and Chico evolved more subtly, but in a sense, they were all playing somewhat different characters in the early vaudeville tabs. So I guess I would want to see Home Again, which was their vaudeville tabloid, that carried them through the World War One years and beyond. JOHNJim? JIMAnything vaudeville. The school sketches that they did. I'd see anything. It wouldn't matter to me. If I could get back there, I'd go every day. John, you and I were talking about Robin Williams and being the greatest improviser of all time, and the quote that you said was, somebody had said, “see the eight o'clock show, then see the 10 o'clock show, and we'll talk.” And to me, that's interesting. I would kill to, you know, follow them on the road, like Bruce Springsteen, and just see how much of it really is the same. In the same way that I'm tickled, when somebody says to me, ‘How much of that did you just make up on the spot?' None of it. Essentially, none of it did I make up on the spot. I'd like to see how much of what they did day to day was exactly the same and how much of it was, ‘today, I'm going to do this for no reason at all' and I'd like to see how much of that is different. JOHNYou know, my two choices kind of fall within that. One is the day that Chico's daughter didn't go to the show, and she came home, and Chico thought she'd gone to it and he said, ‘What did you think?' And she said, ‘What do you mean?' And he said, ‘Harpo and I switched roles.' And I know it's weird: if you had like one chance to go see the Marx Brothers, you're gonna go see them do the role they're supposed to do. But it's just fascinating when you think about it. The other one is when Groucho was sick and Zeppo stepped in and if I'm quoting Susan Marx's book correctly, the reaction was so strong towards what Zeppo did that Groucho got healthy really fast and came back. But Zeppo was really, really good. We do have the agent sketch, so you get a sense of what they were like on stage. You do get that. But the idea of seeing, I can easily see Zeppo doing Groucho. But Chico doing Harpo and vice versa? I realize that if I have a time machine, I should go back and do something more helpful for the world. But at that same time, I want to stop by and see that one show where they switched. JIM That you'll do that on your lunch break. While you're stopping World War Two, on the way home, swing by and see that show. You've earned it. NOAH That's a good answer. JOHNYeah. Noah, thank you so much for chatting with us. JIM Just a delight. Thank you so much. I had a great time talking to you. NOAHIt's been a pleasure, fellas. Thank you for having me on.

With her towering headwear and sparkling body suit, the showgirl is an instantly recognizable, cross cultural pop icon. This two part episode from the Dressed arhcives explores her lesser known relationship to fashion, a love affair that extends back over one hundred years. Recommended Reading: Andrea Stuart's Showgirls Linda Mizejewski, Ziegfeld Girl: Image and Icon in Culture and Cinema Jane Merrill's The Showgirl Costume: An Illustrated History See omnystudio.com/listener for privacy information.

*Today is the 93rd Anniversary of the 1929 Wall Street Crash. The richest girl travels around the world and gets invited to all the fabulous parties, so with such a glamorous life why does she seem perpetually unhappy? In 1931, newspapers increasingly focus on Doris Duke reporting on her lifestyle and theorizing about how rich she really is and any potential suitors.  Doris spends the evening at New York's Central Park Casino with two popular young men Foster Blakeley and Dave Coddington, Jr. Other people and subjects include: Barbara Hutton, Huntington Hartford, Jimmy Cromwell, David / Edward Prince of Wales - King Edward VIII - Duke of Windsor, New York Central Park Casino, Grace Riopel Blakeley Hyde, William Hyde, James Blakeley, William Coddington, Alan Hudson, Duke Farms, E.F. Hutton, Marjorie Merriweather Post, Jessie Woolworth Donahue, Mrs. William Hayward, Phil Plant, Mayor Jimmy Walker, Joseph Urban, Ziegfeld Follies, Ming Toy, Joe Paguio, Margie Paguio Ho Shee, Shirley Temple, media celebrities, photographic evidence, fraud, jewel thief, rising financial insecure times --Extra Notes / Call to Action:My recurring Waldorf-Astoria hotels webinar - Part 1 on Thursday, December 1st, 2022 and Part 2 Thursday, December 8th at 8pm EST / 5pm PST. New York Adventure Club www.nyadventureclub.com or the events section at https://asthemoneyburns.com. Thursday, December 1st, 8pm EST / 5pm PST –  Waldorf Astoria Hotel Part 1: A New Standard of Luxury (pre-1929), Come learn more about the Astor family dispute behind the famous hotel and its construction as well as the hotel's influence on luxury travel and fine dining.  Connections to the Titanic as well as other events and famous people will also be explored.  But all good things come to and end. https://www.nyadventureclub.com/event/the-waldorf-astoria-hotel-part-i-a-new-standard-of-luxury-webinar-registration-458480436327/ Thursday, December 8th, 8pm EST / 5pm PST –  Waldorf Astoria Hotel New York  Part 2: Manhattan's Grandest Hotel (1931-present), The second version of this fine luxury hotel comes during the dawn of new era which will bring new challenges and excitement.  A lingering Astor family connection adds to the saga until a new family the Hilton dynasty rises and takes over.  More celebrities and events will add to allure of this hotel.  Finally, updates reveal the recent renovations, an auction, and the future for the third incarnation.https://www.nyadventureclub.com/event/the-waldorf-astoria-hotel-part-ii-manhattans-grandest-hotel-webinar-registration-458480476447/ Share, like, subscribe --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Crazy Rhythm by Victor Silvester, Album The Great British Dance BandsSection 2 Music: With Thee I Swing by Carroll Gibbons, Album The Age of Style – Hits from the 30sSection 3 Music:Skirts by Billy Cotton, Album The Great Dance Bands Play Hits of the 30sEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands --https://asthemoneyburns.com/  TW / IG – @asthemoneyburns  Facebook – https://www.facebook.com/asthemoneyburns/   

This is the first part of my conversation with Gary Flannery who somehow, while pursuing his own spectacular career as dancer, also found time to become the leading expert on the tumultuous life and career of George White – the fabled Broadway producer, director, choreographer, writer, songwriter and dancer. White rose to fame in Vaudeville and as a featured performer in The Ziegfeld Follies and then, between 1919 and 1939, went on to produce 19 Broadway musicals including 13 editions of his own spectacular and legendary revue – The George White Scandals. It is Gary's firm conviction that George White is the most underrated and neglected genius in the history of the Broadway musical. And, furthermore, he believes that if George White's full legacy and impact were more fully acknowledged and recognized it would equal or surpass that of Ziegfeld, George M. Cohan, the Shubert Bros, and virtually every other great showman in Broadway history. Gary has certainly convinced me – and I suspect that after you've heard him tell George White's amazing story -- you will be persuaded as well. Gary Flannery's day job was as one of Bob Fosse's favorite dancers and he appeared in the Broadway productions of both DANCIN' and PIPPIN – and you have probably seen him as one of the leading dancers in Fosse's film, All That Jazz.  He also toured the world dancing with Shirley MacLaine, was a featured dancer on many television variety shows, and today he directs, choreographs, writes, teaches and conducts master classes in all manner of Broadway dance and musical theater history. His research on George White is only one part of his Great American Revue project which includes lectures, books, documentaries and revivals in various stages of production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Singin' in the Rain was a product of MGM's so-called “Freed Unit,” named for the person who headed it -- Arthur Freed. Before this film, Freed worked on many of the best known musicals, both historically and of their respective days: The Wizard of Oz, Babes in Arms, Meet Me in St. Louis, Ziegfeld Follies, Easter Parade, On the Town, Annie Get Your Gun, Show Boat, and An American In Paris. It was after working on An American in Paris -- which featured music by George Gershwin, and went on to win 7 Academy Awards (including Best Picture) while becoming one of the top 10 highest grossing films of 1951 -- that Freed decided to put together another musical featuring pre-existing music by a specific songwriter… namely, himself, along with collaborator Nacio Herb Brown. The resulting film features tunes the duo wrote for previous MGM musicals. Screenwriters Betty Comden and Adolph Green worked on the initial draft of the screenplay with Gene Kelly and Stanley Donen jumping in to collaborate on adjustments to the story once they were done with American In Paris. Debbie Reynolds, who was not a dancer before the movie began production, had a particularly rough time making the picture -- with Kelly being rough on her throughout and one extremely long day of shooting a number resulting in bloody feet. In 2003, she told the Saturday Evening Post that "Singin' in the Rain and childbirth were the two hardest things I ever had to do in my life." And the famed “Make ‘Em Laugh” sequence reportedly left heavy smoking Donald O'Connor recovering in a hospital bed for several days. The film was considered only a modest hit at the time it was released, though it did receive strong reviews from many of the major critics of the day and it did rank as the 10th highest grossing film of 1952. It was nominated for 2 Oscars -- Best Supporting Actress (Jean Hagen) and Best Scoring of a Musical Picture -- but won neither. The Academy Award for Best Motion Picture that year went to Cecil B. DeMille's The Greatest Show on Earth -- and that film was also the highest grossing of 1952. Over the nearly 70 years since its release, Singin' in the Rain has arguably become one of the best loved movies of all time, especially as far as Hollywood movies go. It wa among the first batch of 25 films considered "culturally, historically or aesthetically significant" that the Library of Congress recognized in 1989 for its National Film Registry. And it was included in AFI's 100 Years, 100 Movies list in 1998, ranked at #10... then rose to the #5 spot when that list was updated in 2007. AFI also listed it as the #1 greatest movie musical of all time in 2006, beating out West Side Story, The Wizard of Oz, The Sound of Music, and Cabaret... in that order. For our purposes, the film first ranked in the top 10 of Sight and Sound Magazine's critics' survey of the best films of all time in 1982.. At #3. It was then a runner up in 1992 and at #10 in 2002. And though it didn't make the top 10 in 2012, it was included on the full list at #20, right behind Andrei Tarkovsky's Mirror and just ahead of Michelangelo Antonioni's L'avventura -- both of which we've discussed in previous episodes of this podcast… Ben Gibson, Director of the London Film School, put it on his list, saying: “Through the faked-up DIY of Singin' in the Rain, seemingly a mad throwing together of stuff that somehow just gels, we're allowed to feel the joy of creativity and to glimpse the very human face of genius. It's the least improvised film providing the most thrillingly spontaneous feeling to be had in a cinema.” Singin' in the Rain also came in at #67 on the 2012 directors' poll. Among the directors who voted for it were Francis Ford Coppola and Marc Webb. --- Send in a voice message: https://anchor.fm/stereoactivemovieclub/message

From the May/June 2022 edition of The Scottish Rite Journal. Any accompanying photographs or citations for this article can be found in the corresponding print edition.

In this Bonus Dunne Day Episode, Alicia takes you first to the West Coast to explore San Francisco's New Amsterdam, forever preserved in the song Mr. Jones by the Counting Crows. Then, we head to the East Coast - New York City - where we talk about the building, history, and the ghosts, too, of the other New Amsterdam.  Get ready for a cross-continent journey spanning more than a century. Highlights include the Ziegfeld Follies, The Merry Widow Hat Skirmish, Kung Fu Movies, a Times Square renovation, and some of the biggest Disney musicals of recent decades. It is a whole spiderweb today that takes us from 1903 to the present day.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Ziegfeld Follies on the Air with Florenz Ziegfeld April 10, 1932 CBS Baby Snooks October 24, 1947 CBS

Ziegfeld Follies on the Air Jan 26, 1936 CBS starring Fanny Brice (rare recording)

The Pilot's Daughterby Meredith Jaeger Published November 2nd 2021 by Dutton BooksThe glitzy days of 1920s New York meet the devastation of those left behind in World War II in a new, delectable historical novel from USA Today bestselling author Meredith Jaeger.In the final months of World War II, San Francisco newspaper secretary Ellie Morgan should be planning her wedding and subsequent exit from the newsroom into domestic life. Instead, Ellie, who harbors dreams of having her own column, is using all the skills she's learned as a would-be reporter to try to uncover any scrap of evidence that her missing pilot father is still alive. But when she discovers a stack of love letters from a woman who is not her mother in his possessions, her already fragile world goes into a tailspin, and she vows to find out the truth about the father she loves--and the woman who loved him back.When Ellie arrives on her aunt Iris's doorstep, clutching a stack of letters and uttering a name Iris hasn't heard in decades, Iris is terrified. She's hidden her past as a Ziegfeld Follies showgirl from her family, and her experiences in New York City in the 1920s could reveal much more than the origin of her brother-in-law's alleged affair. Iris's heady days in the spotlight weren't enough to outshine the darker underbelly of Jazz Age New York, and she's spent the past twenty years believing that her actions in those days led to murder.Together the two women embark on a cross-country mission to find the truth in the City That Never Sleeps, a journey that just might shatter everything they thought they knew--not only about the past but about their own futures.Inspired by a true Jazz Age murder cold case that captivated the nation, and the fact that more than 72,000 Americans still remain unaccounted for from World War II, The Pilot's Daughter is a page-turning exploration of the stories we tell ourselves and of how well we can truly know those we love. Meredith Jaeger is the USA Today bestselling author of THE PILOT'S DAUGHTER, BOARDWALK SUMMER and THE DRESSMAKER'S DOWRY. She's a native of the San Francisco Bay Area, where she was raised by a Swiss father and an American mother. A graduate of the University of California, Santa Cruz, Meredith wrote her debut novel, THE DRESSMAKER'S DOWRY, while working for a San Francisco startup.THE PILOT'S DAUGHTER has been called "unputdownable" (NYT bestselling author Sally Hepworth) "stirring and powerful" (NYT bestselling author Fiona Davis) and "historical fiction at its finest" (NYT bestselling author Lori Nelson Spielman).Meredith lives in the San Francisco Bay Area with her husband, daughter and crazy rescue dog. Follow her on Instagram @meredithjaegerauthor

This podcast is one of a series looking back at some highlights from the 2021 Blu-ray releases from the Warner Archive.Warner Bros executive George Feltenstein takes us through the June 2021 Blu-ray release of the 1946 classic film, "Zeigfeld Follies."  Starring an ensemble cast of Fred Astaire, Gene Kelly, Lucille Ball, Judy Garland, Esther Williams, Lucille Bremer, Fanny Brice, Lena Horne, and many more, this beloved film is an imperfect classic made up of dance numbers, comedy sketches, and lots of beautiful girls, as was typical of the Ziegfeld tradition.  George provides background on the complex production challenges the movie faced over multiple years of filming.  And his insights into the songs, dance routines, and behind-the-scenes stories make for an entertaining review of both the film and Blu-ray release.The June 2021 Blu-ray of "Ziegfeld Follies" is another of the many technicolor restorations from the Warner Archive in 2021, and finally allows viewers to see the film in the glorious color and detail of the original film.

Ricky has a big TV audition, and Lucy wants in on the act. Through circumstances completely out of her control, she gets to be a total clown... literally! This episode has everything, including the most skilled saxavibratronophonovitch playing you'll ever see on television. Y'all, we had a blast with this one, and the discussion this week includes everything from Ricky's signature song "Babalu" to hot naked showgirls. Lucy in Ziegfeld Follies (1945): https://www.youtube.com/watch?v=2LhtNEmNkuY Murder at the Vanities (1934) trailer: https://www.youtube.com/watch?v=vaH1FzD3RtE "Sweet Marijuana" song from Murder at the Vanities: https://www.youtube.com/watch?v=NjdETBXwDo8