Misplaced Pages

#392607

201-561: The FTA Show was explicitly created as a counter to Bob Hope's pro-war USO tour. For many years the USO had been organizing patriotic pro-military shows at US overseas military bases. Bob Hope became the most famous symbol of these shows through annual Christmas shows and a yearly nationally broadcast TV special. Hope "unequivocally supported the American mission in Vietnam", and praised General Westmoreland at

402-420: A MacArthur Fellow and Tony Award -winning actor, are frequently lauded as "New Vaudevillians". References to vaudeville and the use of its distinctive argot continue throughout North American popular culture. Words such as "flop" and "gag" were terms created from the vaudeville era and have entered the American idiom. Vaudevillian techniques can commonly be witnessed on television and in movies, remarkably in

603-420: A MacArthur Fellow and Tony Award -winning actor, are frequently lauded as "New Vaudevillians". References to vaudeville and the use of its distinctive argot continue throughout North American popular culture. Words such as "flop" and "gag" were terms created from the vaudeville era and have entered the American idiom. Vaudevillian techniques can commonly be witnessed on television and in movies, remarkably in

804-584: A Broadway show. This is when she began experimenting with improvisational comedy and quickly found her unique success, even taking her performances global with acts in the U.K. Sophie Tucker , a Russian Jewish immigrant, was told by promoter Chris Brown that she was not attractive enough to succeed in show business without doing Blackface, so she performed that way for the first two years onstage, until one day she decided to go without it, and achieved much greater success being herself from that point on, especially with her song "Some of These Days." Moms Mabley

1005-584: A Broadway show. This is when she began experimenting with improvisational comedy and quickly found her unique success, even taking her performances global with acts in the U.K. Sophie Tucker , a Russian Jewish immigrant, was told by promoter Chris Brown that she was not attractive enough to succeed in show business without doing Blackface, so she performed that way for the first two years onstage, until one day she decided to go without it, and achieved much greater success being herself from that point on, especially with her song "Some of These Days." Moms Mabley

1206-509: A civilian audience of 2,000. The performance, which was billed as "the first performance for civilians", earned a "Special Citation" Obie for the 1971–72 season. A few new entertainers joined the cast, including poet and activist Pamela Donegan, singer Holly Near , comedian Paul Mooney , and pianist Yale Zimmerman. Other celebrities came to show support, including Nina Simone , Dick Gregory , Ossie Davis , Faye Dunaway , and Eli Wallach , all of whom participated in an opening "Broadway salute to

1407-463: A commitment to entertainment equally inoffensive to men, women and children. Acts that violated this ethos (e.g., those that used words such as "hell") were admonished and threatened with expulsion from the week's remaining performances or were canceled altogether. In spite of such threats, performers routinely flouted this censorship , often to the delight of the very audience members whose sensibilities were supposedly endangered. He eventually instituted

1608-463: A commitment to entertainment equally inoffensive to men, women and children. Acts that violated this ethos (e.g., those that used words such as "hell") were admonished and threatened with expulsion from the week's remaining performances or were canceled altogether. In spite of such threats, performers routinely flouted this censorship , often to the delight of the very audience members whose sensibilities were supposedly endangered. He eventually instituted

1809-638: A fantastic feeling thru the crowd." The crowd "really ate it up", they wrote. The paper also praised a local Monterey women's group which put on a skit "drawing on the similarities of women's oppression to the GI's oppression." P.O.W. also complained that the commander at Fort Ord had allowed Canned Heat on the base, but not the FTA Show. They told him to get off his fat ass "and take a look around you." "And don't try and rack your brain trying to figure out what FTA stands for because it's not in any army code book. It means Fuck

2010-480: A form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into a partnership with the Famous Players–Lasky , a major Hollywood production company and an affiliate of Paramount Pictures . By the late 1920s, most vaudeville shows included a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that

2211-418: A form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into a partnership with the Famous Players–Lasky , a major Hollywood production company and an affiliate of Paramount Pictures . By the late 1920s, most vaudeville shows included a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that

SECTION 10

#1732855056393

2412-433: A glimpse of the show." The local GI underground newspaper, Fatigue Press , reported that Fonda spoke to the audience at the last show on Sunday the 19th. She "explained that the purpose of the FTA Show was to entertain and show support for the GI movement." She said they were "not alone in our struggle as places and groups such as these exist at almost every military installation in the U.S." She expressed her solidarity with

2613-415: A launching pad for later careers. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues. The line between live and filmed performances was blurred by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business. For example, Alexander Pantages quickly realized the importance of motion pictures as

2814-415: A launching pad for later careers. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues. The line between live and filmed performances was blurred by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business. For example, Alexander Pantages quickly realized the importance of motion pictures as

3015-650: A likable "big guy" with a big mustache. The next shows were on August 7 and 8 in Tacoma, Washington near the Fort Lewis Army base and the McChord Air Force Base , and they twice filled the 3,000-seat Tacoma Sports Arena with cheering soldiers, despite the fact that basic trainees at the bases had been denied weekend passes. Again, the organizers had unsuccessfully tried to get permission to perform on base, and were also turned down when they attempted to run an ad for

3216-413: A majority of them servicepeople. Each show opened with California Country, a local rock group, followed by Teatro Mestizo, a Chicano theater group from San Diego State , who "performed a hard-hitting play about the life and death of a young Chicano soldier killed in Vietnam." A local GI underground newspaper, Liberty Call , reported, "There was little question that the audience was in full agreement with

3417-522: A marketing strategy to attract many different audiences. As stated in Andrew Erdman 's book Blue Vaudeville , the Vaudeville stage was "a highly sexualized space ... where unclad bodies, provocative dancers, and singers of 'blue' lyrics all vied for attention." Such performances highlighted and objectified the female body as a "sexual delight", but more than that, historians think that Vaudeville marked

3618-414: A marketing strategy to attract many different audiences. As stated in Andrew Erdman 's book Blue Vaudeville , the Vaudeville stage was "a highly sexualized space ... where unclad bodies, provocative dancers, and singers of 'blue' lyrics all vied for attention." Such performances highlighted and objectified the female body as a "sexual delight", but more than that, historians think that Vaudeville marked

3819-523: A method of understanding different groups and their societal positions within their cities. The use of the greenhorn immigrant for comedic effect showcased how immigrants were viewed as new arrivals, but also what they could aspire to be. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty to the lace curtain became a model of economic upward mobility for immigrant groups. The continued growth of

4020-466: A method of understanding different groups and their societal positions within their cities. The use of the greenhorn immigrant for comedic effect showcased how immigrants were viewed as new arrivals, but also what they could aspire to be. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty to the lace curtain became a model of economic upward mobility for immigrant groups. The continued growth of

4221-776: A press conference in New York City , Fonda and Dr. Levy announced their plans to kick off the FTA Tour in Fayetteville, North Carolina , near the Fort Bragg Army base (then call Fort Bragg). The initial plans were for "an ambitious twenty-stop tour" of U.S. military bases, and the final results were even more impressive. According to Fonda in her autobiography, they performed "for some fifteen thousand GIs near major U.S. military bases" before heading overseas where they "did twenty-one performances". All told, "between March and December of 1971,

SECTION 20

#1732855056393

4422-528: A serious actress but was advised to remain in comedy. She went on to star in a few films but again returned to vaudeville, her original career. Another famous vaudevillian actress was Trixie Friganza , originally born Delia O'Callaghan. She had a famous catchphrase: "You know Trixie with her bag of tricks." She began her career in opera, performing to help provide for her family. The oldest of three daughters, she wanted to help her family financially but had to do it secretly, as female performers were frowned on at

4623-528: A serious actress but was advised to remain in comedy. She went on to star in a few films but again returned to vaudeville, her original career. Another famous vaudevillian actress was Trixie Friganza , originally born Delia O'Callaghan. She had a famous catchphrase: "You know Trixie with her bag of tricks." She began her career in opera, performing to help provide for her family. The oldest of three daughters, she wanted to help her family financially but had to do it secretly, as female performers were frowned on at

4824-572: A set of guidelines to be an audience member at his show, and these were reinforced by the ushers working in the theatre. This "polite entertainment" also extended to Keith's company members. He went to extreme measures to maintain this level of modesty. Keith even went as far as posting warnings backstage such as this: "Don't say 'slob' or 'son of a gun' or 'hully gee' on the stage unless you want to be canceled peremptorily... if you are guilty of uttering anything sacrilegious or even suggestive you will be immediately closed and will never again be allowed in

5025-572: A set of guidelines to be an audience member at his show, and these were reinforced by the ushers working in the theatre. This "polite entertainment" also extended to Keith's company members. He went to extreme measures to maintain this level of modesty. Keith even went as far as posting warnings backstage such as this: "Don't say 'slob' or 'son of a gun' or 'hully gee' on the stage unless you want to be canceled peremptorily... if you are guilty of uttering anything sacrilegious or even suggestive you will be immediately closed and will never again be allowed in

5226-459: A single (an individual male or female performer); next would be an alley-oop (an acrobatic act); then another single, followed by yet another sketch such as a blackface comedy. The acts that followed these for the rest of the show would vary from musicals to jugglers to song-and-dance singles and end with a final extravaganza – either musical or drama – with the full company. These shows would feature such stars as ragtime and jazz pianist Eubie Blake ,

5427-459: A single (an individual male or female performer); next would be an alley-oop (an acrobatic act); then another single, followed by yet another sketch such as a blackface comedy. The acts that followed these for the rest of the show would vary from musicals to jugglers to song-and-dance singles and end with a final extravaganza – either musical or drama – with the full company. These shows would feature such stars as ragtime and jazz pianist Eubie Blake ,

5628-402: A single host introducing a series of acts became a popular television style and can be seen consistently in the development of television, from The Milton Berle Show in 1948 to Late Night with David Letterman in the 1980s. The multi-act format had renewed success in shows such as Your Show of Shows with Sid Caesar and The Ed Sullivan Show . Today, performers such as Bill Irwin ,

5829-402: A single host introducing a series of acts became a popular television style and can be seen consistently in the development of television, from The Milton Berle Show in 1948 to Late Night with David Letterman in the 1980s. The multi-act format had renewed success in shows such as Your Show of Shows with Sid Caesar and The Ed Sullivan Show . Today, performers such as Bill Irwin ,

6030-659: A surprise to audience members when such beautiful women actually possessed talent in addition to their appealing looks. This element of surprise colored much of the reaction to the female entertainment of this time. In the 1920s, announcements seeking all-girl bands for vaudeville performances appeared in industry publications like Billboard , Variety and in newspapers. Bands like The Ingenues and The Dixie Sweethearts were well-publicized, while other groups were simply described as "all-girl Revue". According to Feminist Theory, similar trends in theater and film objectified women, an example of male gaze , as women's role in public life

6231-659: A surprise to audience members when such beautiful women actually possessed talent in addition to their appealing looks. This element of surprise colored much of the reaction to the female entertainment of this time. In the 1920s, announcements seeking all-girl bands for vaudeville performances appeared in industry publications like Billboard , Variety and in newspapers. Bands like The Ingenues and The Dixie Sweethearts were well-publicized, while other groups were simply described as "all-girl Revue". According to Feminist Theory, similar trends in theater and film objectified women, an example of male gaze , as women's role in public life

FTA Show - Misplaced Pages Continue

6432-411: A taste for the risqué . In the 1840s, the minstrel show , another type of variety performance, and "the first emanation of a pervasive and purely American mass culture", grew to enormous popularity and formed what Nick Tosches called "the heart of 19th-century show business". A significant influence also came from "Dutch" (i.e., German or faux-German) minstrels and comedians. Medicine shows traveled

6633-411: A taste for the risqué . In the 1840s, the minstrel show , another type of variety performance, and "the first emanation of a pervasive and purely American mass culture", grew to enormous popularity and formed what Nick Tosches called "the heart of 19th-century show business". A significant influence also came from "Dutch" (i.e., German or faux-German) minstrels and comedians. Medicine shows traveled

6834-517: A terrible jam Way down yonder in Vietnam So put down your books, pick up a gun Gonna have a whole lot of fun And it's 1, 2, 3 What are we fighting for? Don't ask me, I don't give a damn Next stop is Vietnam And it's 5, 6, 7 Open up the pearly gates Ah, ain't no time to wonder why Whoopee! We're all going to die. Vaudeville Vaudeville ( / ˈ v ɔː d ( ə ) v ɪ l , ˈ v oʊ -/ ; French: [vodvil] )

7035-489: A theatre where Mr. Keith is in authority." Along these same lines of discipline, Keith's theatre managers would occasionally send out blue envelopes with orders to omit certain suggestive lines of songs and possible substitutions for those words. If actors chose to ignore these orders or quit, they would get "a black mark" on their name and would never again be allowed to work on the Keith Circuit. Thus, actors learned to follow

7236-433: A theatre where Mr. Keith is in authority." Along these same lines of discipline, Keith's theatre managers would occasionally send out blue envelopes with orders to omit certain suggestive lines of songs and possible substitutions for those words. If actors chose to ignore these orders or quit, they would get "a black mark" on their name and would never again be allowed to work on the Keith Circuit. Thus, actors learned to follow

7437-695: A three-and-a-half-hour tense standoff in the airport, "the group was permitted to proceed to a hotel as the Office considered an appeal to its decision." Fonda immediately called a press conference at the hotel and, "in a tense and tired voice" stated: Two months ago, the Japanese Consulate in Los Angeles, California, confirmed that our role as entertainers who did not receive financial compensation, whose purposes were to meet and entertain American GIs, would require

7638-628: A time in which the female body became its own "sexual spectacle". This sexual image began sprouting everywhere an American went: the shops, a restaurant, the grocery store, etc. The more this image brought in the highest revenue, the more Vaudeville focused on acts involving women. Even acts that were as innocent as a sister act were higher sellers than a good brother act. Consequently, Erdman adds that female Vaudeville performers such as Julie Mackey and Gibson's Bathing Girls began to focus less on talent and more on physical appeal through their figure, tight gowns, and other revealing attire. It eventually came as

7839-628: A time in which the female body became its own "sexual spectacle". This sexual image began sprouting everywhere an American went: the shops, a restaurant, the grocery store, etc. The more this image brought in the highest revenue, the more Vaudeville focused on acts involving women. Even acts that were as innocent as a sister act were higher sellers than a good brother act. Consequently, Erdman adds that female Vaudeville performers such as Julie Mackey and Gibson's Bathing Girls began to focus less on talent and more on physical appeal through their figure, tight gowns, and other revealing attire. It eventually came as

8040-455: A tourist visa and issued them to us. We are alarmed and distressed we should find ourselves here on this momentous anniversary, the 30th anniversary of the beginning of the Pacific War, that we should find ourselves on a mission of peace at the borders of the country that has one of the largest peace movements in the world, and that we should be denied entry. A Board of Immigration spokesman told

8241-566: A trained mule) shared a stage with acts more usually regarded as "highbrow" or classical entertainment (opera vocalists, classical musicians). B. F. Keith took the next step, starting in Boston , where he built an empire of theatres and brought vaudeville to the United States and Canada. Later, E. F. Albee , adoptive grandfather of the Pulitzer Prize -winning playwright Edward Albee , managed

FTA Show - Misplaced Pages Continue

8442-406: A trained mule) shared a stage with acts more usually regarded as "highbrow" or classical entertainment (opera vocalists, classical musicians). B. F. Keith took the next step, starting in Boston , where he built an empire of theatres and brought vaudeville to the United States and Canada. Later, E. F. Albee , adoptive grandfather of the Pulitzer Prize -winning playwright Edward Albee , managed

8643-485: A typical North American vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts have included popular and classical musicians, singers, dancers, comedians, trained animals , magicians, ventriloquists , strongmen , female and male impersonators , acrobats, clowns, illustrated songs , jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels , and films. A vaudeville performer

8844-401: A unique ethnic interplay between Irish American use of self-deprecation as humor and their diverse inner city surroundings. The interactions between newly arrived immigrants and settled immigrants within the backdrop of the unknown American urban landscape allowed vaudeville to be utilized as an avenue for expression and understanding. The often hostile immigrant experience in their new country

9045-401: A unique ethnic interplay between Irish American use of self-deprecation as humor and their diverse inner city surroundings. The interactions between newly arrived immigrants and settled immigrants within the backdrop of the unknown American urban landscape allowed vaudeville to be utilized as an avenue for expression and understanding. The often hostile immigrant experience in their new country

9246-505: A wide range of clientele. Many small towns had purpose-built theatres. A small yet interesting example might include what is called Grange Halls in northern New England, still being used. These are old-fashioned, wooden buildings with creaky, dimly-lit, wooden stages, which were meant to offset the isolation of a farming lifestyle. These stages could offer anything from child performers to contra-dances to visits by Santa to local, musical talent, to homemade foods such as whoopee pies. Some of

9447-505: A wide range of clientele. Many small towns had purpose-built theatres. A small yet interesting example might include what is called Grange Halls in northern New England, still being used. These are old-fashioned, wooden buildings with creaky, dimly-lit, wooden stages, which were meant to offset the isolation of a farming lifestyle. These stages could offer anything from child performers to contra-dances to visits by Santa to local, musical talent, to homemade foods such as whoopee pies. Some of

9648-526: Is a theatrical genre of variety entertainment which began in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition or light poetry, interspersed with songs or ballets. It became popular in the United States and Canada from the early 1880s until the early 1930s, while changing over time. In some ways analogous to music hall from Victorian Britain ,

9849-494: Is in northern Japan and the heater in the auditorium was broken with December temperatures well below freezing. Even so, a cast member reported that "we only shivered for the first few minutes — the unity of all the people singing together, fists raised...gave us warmth that we will never forget." The FTA Show performed twice in Okinawa near the U.S. military bases . The first night, on December 13, "an overflow crowd of GIs" watched

10050-494: Is often considered to have been the death knell of vaudeville. Though talk of its resurrection was heard during the 1930s and later, the demise of the supporting apparatus of the circuits and the higher cost of live performance made any large-scale renewal of vaudeville unrealistic. The most striking examples of Gilded Age theatre architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are

10251-494: Is often considered to have been the death knell of vaudeville. Though talk of its resurrection was heard during the 1930s and later, the demise of the supporting apparatus of the circuits and the higher cost of live performance made any large-scale renewal of vaudeville unrealistic. The most striking examples of Gilded Age theatre architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are

SECTION 50

#1732855056393

10452-477: Is often referred to as a "vaudevillian". Vaudeville developed from many sources, including the concert saloon , minstrelsy , freak shows , dime museums , and literary American burlesque . Called "the heart of American show business", vaudeville was one of the most popular types of entertainment in North America for several decades. The origin of the term is obscure but often explained as being derived from

10653-422: Is often referred to as a "vaudevillian". Vaudeville developed from many sources, including the concert saloon , minstrelsy , freak shows , dime museums , and literary American burlesque . Called "the heart of American show business", vaudeville was one of the most popular types of entertainment in North America for several decades. The origin of the term is obscure but often explained as being derived from

10854-510: The vau de vire origin, a truncated form of chanson du Vau de Vire ' song of the Valley of the Vire ' . Around 1610, Jean le Houx collected these works as Le Livre des Chants nouveaux de Vaudevire , which is probably the direct origin of the word. With its first subtle appearances within the early 1860s, vaudeville was not initially a common form of entertainment. The form gradually evolved from

11055-414: The vau de vire origin, a truncated form of chanson du Vau de Vire ' song of the Valley of the Vire ' . Around 1610, Jean le Houx collected these works as Le Livre des Chants nouveaux de Vaudevire , which is probably the direct origin of the word. With its first subtle appearances within the early 1860s, vaudeville was not initially a common form of entertainment. The form gradually evolved from

11256-599: The FTA Show was inspired by "articles in The Washington Post and The New York Times about soldiers in Vietnam who were dissatisfied with the typical USO shows." She told a reporter from the Times that the show would reinforce "what the soldiers already know. They know that the war is insane. They know what GIs have to contend with better than we do. We're simply saying, 'We know what you're up against and we support you.'" Fonda

11457-506: The GI underground press . Highlights of the various shows included: A comedy skit with Fonda, playing Richard Nixon 's wife, telling Gary Goodrow , as Nixon, that protesters were storming the Capitol : Nixon answers: "We'd better call out the 82nd Airborne." Mrs. Nixon replies: "But Richard, you don't understand, it IS the 82nd AIRBORNE!" At each show the performers would use a military unit from

11658-727: The Marx Brothers , Jimmy Durante , Bill "Bojangles" Robinson , Edgar Bergen , Fanny Brice , Burns and Allen , and Eddie Cantor , used the prominence gained in live variety performance to vault into the new medium of cinema. In doing so, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years. Other performers who entered in vaudeville's later years, including Jack Benny , Abbott and Costello , Kate Smith , Cary Grant , Bob Hope , Milton Berle , Judy Garland , Rose Marie , Sammy Davis Jr. , Red Skelton , Larry Storch and The Three Stooges , used vaudeville only as

11859-672: The Marx Brothers , Jimmy Durante , Bill "Bojangles" Robinson , Edgar Bergen , Fanny Brice , Burns and Allen , and Eddie Cantor , used the prominence gained in live variety performance to vault into the new medium of cinema. In doing so, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years. Other performers who entered in vaudeville's later years, including Jack Benny , Abbott and Costello , Kate Smith , Cary Grant , Bob Hope , Milton Berle , Judy Garland , Rose Marie , Sammy Davis Jr. , Red Skelton , Larry Storch and The Three Stooges , used vaudeville only as

12060-600: The Monterey County Fairgrounds in California . There were three shows with over 900 attendees at each, most "coming from among Fort Ord's 25,000 personnel". Many of the GIs who attended indicated they were "attending an antiwar event for the first time." The organizers had again unsuccessfully requested permission to stage the show on base. The cast included Goodrow, Fonda, Sutherland and Hesseman, while musical entertainment

12261-664: The Philippines between November 28 and December 6, 1971, four near U.S. military bases. The first two performances on November 28 and 29 were held at YAP Park near Clark Air Force Base in Angeles City . According to military intelligence records submitted to a Congressional investigation by the House Committee on Internal Security , over 2,000 people attended the two shows, the majority of whom "appeared to be either young USAF members or USAF dependents." The next show on December 1

SECTION 60

#1732855056393

12462-639: The Tivoli Theatre are housed at the State Library of Victoria , Melbourne , Australia , with additional personal papers of vaudevillian performers from the Tivoli Theatre, including extensive costume and set design holdings, held by the Performing Arts Collection , Arts Centre Melbourne . The American Vaudeville Museum, one of the largest collections of vaudeville memorabilia, is located at

12663-403: The Tivoli Theatre are housed at the State Library of Victoria , Melbourne , Australia , with additional personal papers of vaudevillian performers from the Tivoli Theatre, including extensive costume and set design holdings, held by the Performing Arts Collection , Arts Centre Melbourne . The American Vaudeville Museum, one of the largest collections of vaudeville memorabilia, is located at

12864-644: The concert saloon and variety hall into its mature form throughout the 1870s and 1880s. This more gentle form was known as "Polite Vaudeville". In the years before the American Civil War , entertainment existed on a different scale. Similar variety theatre existed before 1860 in Europe and elsewhere. In the US, as early as the first decades of the 19th century, theatergoers could enjoy a performance consisting of Shakespeare plays, acrobatics, singing, dancing, and comedy. As

13065-490: The concert saloon and variety hall into its mature form throughout the 1870s and 1880s. This more gentle form was known as "Polite Vaudeville". In the years before the American Civil War , entertainment existed on a different scale. Similar variety theatre existed before 1860 in Europe and elsewhere. In the US, as early as the first decades of the 19th century, theatergoers could enjoy a performance consisting of Shakespeare plays, acrobatics, singing, dancing, and comedy. As

13266-452: The "Irwin Sisters". Many years later, their act had taken off and with performances in both vaudeville and burlesque at famous music halls, until Irwin decided to continue her career on her own. She then changed her approach to vaudeville, performing African-American-influenced songs, even later writing her songs. She introduced her signature in vaudeville, "The Bully Song", which was performed in

13467-402: The "Irwin Sisters". Many years later, their act had taken off and with performances in both vaudeville and burlesque at famous music halls, until Irwin decided to continue her career on her own. She then changed her approach to vaudeville, performing African-American-influenced songs, even later writing her songs. She introduced her signature in vaudeville, "The Bully Song", which was performed in

13668-595: The "antiwar, anti-military" show "clearly went over well" with the "exuberantly shouting" GIs. Their chants of "Join the GI Movement, boys, join the GI movement." could be heard out on the street. The historian, David L. Parsons, wrote, "By most media accounts, the FTA show's premier in Fayetteville was a huge hit among the soldiers who crowded into the coffeehouse." The FTA's second stop took place on May 8 and 9 near Fort Ord , at

13869-425: The "big time" (possible remuneration of several thousand dollars per week in large, urban theatres largely patronized by the middle and upper-middle classes). As performers rose in renown and established regional and national followings, they worked their way into the less arduous working conditions and better pay of the big time. The capital of the big time was New York City's Palace Theatre (or just "The Palace" in

14070-425: The "big time" (possible remuneration of several thousand dollars per week in large, urban theatres largely patronized by the middle and upper-middle classes). As performers rose in renown and established regional and national followings, they worked their way into the less arduous working conditions and better pay of the big time. The capital of the big time was New York City's Palace Theatre (or just "The Palace" in

14271-456: The "brass had warned Airmen not to go to the show — but the hall was packed." A Military intelligence report observed, "Audience reception of the show was warm and many joined in the singing and handclapping. The cast was given a standing ovation at the conclusion, despite the rather amateurish presentation." This report went on to say, "The use of profanity in the show was frequent and many of the songs and skits were crude, apparently being aimed at

14472-455: The "racially-inclusive and pro-feminist messages of FTA stood in sharp contrast to Bob Hope's show. Whereas Hope made racist jokes, FTA embraced racial equality and took seriously the grievances of non-whites. While Hope joked about sexual assault and unapologetically objectified the women in his cast, FTA endorsed women's liberation and featured women as full participants in the show – without forcing them to don sexually provocative clothing." By

14673-513: The Army." One week later, on May 15 and 16, the FTA performed at Russ Auditorium in San Diego , California to capacity crowds of almost 5,000 sailors and marines from the area's numerous military bases. This time, the organizers had first requested to perform not on a base but on the deck of an aircraft carrier, the U.S.S. Constellation . As described by historian David Cortright : Several weeks before

14874-625: The Chinese, Italians, Germans and Jews utilized ethnic caricatures to understand themselves as well as the Irish. The urban diversity within the vaudeville stage and audience also reflected their societal status, with the working class constituting two-thirds of the typical vaudeville audience. The ethnic caricatures that now comprised American humor reflected the positive and negative interactions between ethnic groups in America's cities. The caricatures served as

15075-477: The Chinese, Italians, Germans and Jews utilized ethnic caricatures to understand themselves as well as the Irish. The urban diversity within the vaudeville stage and audience also reflected their societal status, with the working class constituting two-thirds of the typical vaudeville audience. The ethnic caricatures that now comprised American humor reflected the positive and negative interactions between ethnic groups in America's cities. The caricatures served as

15276-574: The French expression voix de ville ' voice of the city ' . A second hypothesis is that it comes from the 15th-century songs on satire by poet Olivier Basselin , "Vau de Vire". In his Connections television series, science historian James Burke argues that the term is a corruption of the French Vau de Vire ' Vire River Valley ' , an area known for its bawdy drinking songs and where Basselin lived. The Oxford English Dictionary also endorses

15477-472: The French expression voix de ville ' voice of the city ' . A second hypothesis is that it comes from the 15th-century songs on satire by poet Olivier Basselin , "Vau de Vire". In his Connections television series, science historian James Burke argues that the term is a corruption of the French Vau de Vire ' Vire River Valley ' , an area known for its bawdy drinking songs and where Basselin lived. The Oxford English Dictionary also endorses

15678-519: The GI movement". The New York Times reviewer commented, "the audience was asked to pretend that it was in the Army", but "[t]here was no need for fantasizing. By any measure, this is an easily enjoyable show — although certainly Army experience would make it seem more impertinent." In Hawaii, the show performed at the Civic Auditorium in Honolulu on Thanksgiving Day . More than 4,000 people attended

15879-455: The GIs and their families and said that by "uniting we can resist, we can end the war, we can attain our denied rights, we can end racism and sexism in the military and we can FREE THE ARMY." Also on Sunday, the cast went to a picnic at the a local park with many of the GIs who weren't able to get into the shows. In another indication of the sentiments of local government officials, when cast members began to put on some of their skits from

16080-423: The Irish becoming subject to discrimination due to their ethnic physical and cultural characteristics. The ethnic stereotypes of Irish through their greenhorn depiction alluded to their newly arrived status as immigrant Americans, with the stereotype portrayed in avenues of entertainment. Following the Irish immigration wave were several waves in which new immigrants from different backgrounds came in contact with

16281-423: The Irish becoming subject to discrimination due to their ethnic physical and cultural characteristics. The ethnic stereotypes of Irish through their greenhorn depiction alluded to their newly arrived status as immigrant Americans, with the stereotype portrayed in avenues of entertainment. Following the Irish immigration wave were several waves in which new immigrants from different backgrounds came in contact with

16482-453: The Irish in America's urban centers. Already settled and being native English speakers, Irish Americans took hold of these advantages and began to assert their positions in the immigrant racial hierarchy based on skin tone and assimilation status, cementing job positions that were previously unavailable to them as recently arrived immigrants. As a result, Irish Americans became prominent in vaudeville entertainment as curators and actors, creating

16683-453: The Irish in America's urban centers. Already settled and being native English speakers, Irish Americans took hold of these advantages and began to assert their positions in the immigrant racial hierarchy based on skin tone and assimilation status, cementing job positions that were previously unavailable to them as recently arrived immigrants. As a result, Irish Americans became prominent in vaudeville entertainment as curators and actors, creating

16884-684: The Philippines and...explicitly linking the oppression of Filipinos with that of African Americans in the United States." When the FTA show arrived in Japan they ran into difficulties with the Japanese government. They arrived in Tokyo on December 7 from the Philippines and were initially denied entry into the country by Japan's Immigration Office on the grounds that they "possessed only tourist visas and no work permits." After

17085-423: The United States and Canada and a large interest in two vaudeville circuits. Another major circuit was that of Alexander Pantages . In his heyday, Pantages owned more than 30 vaudeville theatres and controlled, through management contracts, perhaps 60 more in both the United States and Canada. At its height, vaudeville played across multiple strata of economic class and auditorium size. On the vaudeville circuit, it

17286-423: The United States and Canada and a large interest in two vaudeville circuits. Another major circuit was that of Alexander Pantages . In his heyday, Pantages owned more than 30 vaudeville theatres and controlled, through management contracts, perhaps 60 more in both the United States and Canada. At its height, vaudeville played across multiple strata of economic class and auditorium size. On the vaudeville circuit, it

17487-652: The United States and Canada from the early 1880s until the early 1930s, while changing over time. In some ways analogous to music hall from Victorian Britain , a typical North American vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts have included popular and classical musicians, singers, dancers, comedians, trained animals , magicians, ventriloquists , strongmen , female and male impersonators , acrobats, clowns, illustrated songs , jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels , and films. A vaudeville performer

17688-466: The United States and Canada, first for about three months in Emil Boreo’s Mirage de Paris followed by nine months in their own Ballet Caprice . After Jack quit the act near the end of 1927, Betty continued to manage the troupe and, with a new dance partner, toured throughout the northeastern United States for the next six months as Betty Felsen and Company. The final performance of Ballet Caprice

17889-404: The United States and Canada, first for about three months in Emil Boreo’s Mirage de Paris followed by nine months in their own Ballet Caprice . After Jack quit the act near the end of 1927, Betty continued to manage the troupe and, with a new dance partner, toured throughout the northeastern United States for the next six months as Betty Felsen and Company. The final performance of Ballet Caprice

18090-517: The University of Arizona. Vaudeville Vaudeville ( / ˈ v ɔː d ( ə ) v ɪ l , ˈ v oʊ -/ ; French: [vodvil] ) is a theatrical genre of variety entertainment which began in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition or light poetry, interspersed with songs or ballets. It became popular in

18291-455: The anti-war theme of the show. As in Monterey, the paper was very impressed with Len Chandler ", describing him as "one of those rare singers who combine a wonderful voice, excellent musicianship and witty songs with incredible warmth and rapport." Liberty Call also wrote that after the first show, "many private citizens opened their homes to servicemen so that they might spend the night and avoid

18492-444: The antiwar movement. He always started the song with the "Fish Cheer", a call-and-response with the audience spelling the word "fish", although by the time of these performances it had evolved into the "Fuck Cheer", which the GIs loved. Knowing what the GIs most wanted to hear, Country Joe, teased them by singing three or four other songs before smiling, looking straight at the audience and shouting, "Give me an F!" The thunderous response

18693-1008: The business side of Vaudeville, like Amanda Thorpe, a white woman who founded a black theater in Virginia, and the Griffin Sisters , who managed several theaters in their efforts to create a Black Vaudeville circuit. Black performers and patrons participated in a racially segregated vaudeville circuit. Though many popular acts like Lewis and Walker, Ernest Hogan , Irving Jones , and the Hyers Sisters played to both white and black audiences, early Vaudeville performances for white audiences were limited to one Black act per show, and performers faced discrimination in restaurants and lodging. Entertainers and entrepreneurs like The Whitman Sisters , Pat Chapelle and John Isham created and managed their own touring companies; others took on theater ownership and management and created Black vaudeville circuits, as

18894-845: The business side of Vaudeville, like Amanda Thorpe, a white woman who founded a black theater in Virginia, and the Griffin Sisters , who managed several theaters in their efforts to create a Black Vaudeville circuit. Black performers and patrons participated in a racially segregated vaudeville circuit. Though many popular acts like Lewis and Walker, Ernest Hogan , Irving Jones , and the Hyers Sisters played to both white and black audiences, early Vaudeville performances for white audiences were limited to one Black act per show, and performers faced discrimination in restaurants and lodging. Entertainers and entrepreneurs like The Whitman Sisters , Pat Chapelle and John Isham created and managed their own touring companies; others took on theater ownership and management and created Black vaudeville circuits, as

19095-636: The cafeteria" to see the cast. The "agents took notes" and "made a film record of the event". Some soldiers made sure the Air Force knew how they felt by going up "to the agents and offer[ing] their names." On September 18 and 19 the FTA performed in Killeen, Texas just outside Fort Hood Army base (nowadays Fort Cavazos) and then in San Antonio on the 20th. Again the organizers had applied for permission to perform on base and had been denied. They then applied to rent

19296-538: The cast went with staff from the local GI Coffeehouse , the Covered Wagon , to the base cafeteria on the Air Force Base. Since the civilians were the guests of coffeehouse staff who were in the military, they couldn't be kicked out. According to a GI underground newspaper, CAMP News , the Air Force military intelligence agents from the Office of Special Investigations "had a busy day as over 100 GIs and officers filled

19497-500: The chain to its greatest success. Circuits such as those managed by Keith-Albee provided vaudeville's greatest economic innovation and the principal source of its industrial strength. They enabled a chain of allied vaudeville houses that remedied the chaos of the single-theatre booking system by contracting acts for regional and national tours. These could easily be lengthened from a few weeks to two years. Albee also gave national prominence to vaudeville's trumpeting "polite" entertainment,

19698-500: The chain to its greatest success. Circuits such as those managed by Keith-Albee provided vaudeville's greatest economic innovation and the principal source of its industrial strength. They enabled a chain of allied vaudeville houses that remedied the chaos of the single-theatre booking system by contracting acts for regional and national tours. These could easily be lengthened from a few weeks to two years. Albee also gave national prominence to vaudeville's trumpeting "polite" entertainment,

19899-420: The circuit's central office weekly, follow each act's description. The bill illustrates the typical pattern of opening the show with a "dumb" act to allow patrons to find their seats, placing strong acts in second and penultimate positions, and leaving the weakest act for the end, to clear the house. In this bill, as in many vaudeville shows, acts often associated with "lowbrow" or popular entertainment (acrobats,

20100-420: The circuit's central office weekly, follow each act's description. The bill illustrates the typical pattern of opening the show with a "dumb" act to allow patrons to find their seats, placing strong acts in second and penultimate positions, and leaving the weakest act for the end, to clear the house. In this bill, as in many vaudeville shows, acts often associated with "lowbrow" or popular entertainment (acrobats,

20301-503: The city, which then demanded a $ 150,000 insurance policy for the performance, a "prohibitive" expense for the Tour. The coffeehouse could hold less than 500 people, so "the troupe put on a series of performances, to packed houses of GIs, over the course of two days and nights" starting on March 14, 1971. The initial cast included Fonda, Sutherland, Boyle, Gregory, Gould, Dane, Goodrow, Swamp Dogg and Johnny Rivers. The New York Times reported that

20502-416: The countryside offering programs of comedy, music, jugglers , and other novelties along with displays of tonics, salves, and miracle elixirs, while " Wild West " shows provided romantic vistas of the disappearing frontier, complete with trick riding, music and drama. Vaudeville incorporated these various itinerant amusements into a stable, institutionalized form centered in America's growing urban hubs. From

20703-416: The countryside offering programs of comedy, music, jugglers , and other novelties along with displays of tonics, salves, and miracle elixirs, while " Wild West " shows provided romantic vistas of the disappearing frontier, complete with trick riding, music and drama. Vaudeville incorporated these various itinerant amusements into a stable, institutionalized form centered in America's growing urban hubs. From

20904-480: The crowd, "If you want them to leave, would you tell them?" The audience erupted in "noisy agreement" while a number of sailors from the USS Oklahoma City "slowly but surely, confidently but peacefully" escorted the hecklers out of the auditorium while Len Chandler led the crowd in shouting "Out! Out! Out!" There has been some speculation that the pro-war hecklers were "undercover agents and provocateurs", which

21105-409: The daughter of a musician, she moved to the United States of America in her childhood. At just fourteen years old, she left home to begin her career, lying about her age and sending her mother half of her paycheck. Dressler found great success and was known for her comedic timing and physical comedy, like carrying her male co-stars. She eventually worked on Broadway, where she had a great desire to become

21306-409: The daughter of a musician, she moved to the United States of America in her childhood. At just fourteen years old, she left home to begin her career, lying about her age and sending her mother half of her paycheck. Dressler found great success and was known for her comedic timing and physical comedy, like carrying her male co-stars. She eventually worked on Broadway, where she had a great desire to become

21507-505: The death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent? The newly-formed RKO studios took over the famed Orpheum vaudeville circuit and swiftly turned it into a chain of full-time movie theatres. The half-century tradition of vaudeville was effectively wiped out within less than four years. Inevitably, managers further trimmed costs by eliminating

21708-505: The death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent? The newly-formed RKO studios took over the famed Orpheum vaudeville circuit and swiftly turned it into a chain of full-time movie theatres. The half-century tradition of vaudeville was effectively wiped out within less than four years. Inevitably, managers further trimmed costs by eliminating

21909-579: The dreariness of returning to bases and ships." On Sunday, before the second show, many sailors and marines joined the cast of the show in Balboa Park for a picnic. One of the authors of the Liberty Call article, James Skelly, became the advance person for the next two FTA Shows outside military bases in Tacoma, Washington and Mountain Home, Idaho . Fred Gardner , the show's first advance person, described him as

22110-457: The end of his 1965 Christmas show for "giving of all his military genius trying to preserve American lives and principles." As anti-Vietnam War sentiment increased in the U.S., Hope admitted in 1966 that "'a few' performers had turned down his invitation to join his Christmas tour for servicemen in South Vietnam because they disapproved of United States policy", but confirmed his own commitment to

22311-586: The fact that 'it wasn't easy' for active-duty military personnel to attend FTA. Military authorities routinely 'put out misinformation about the time and place,' and GIs had to travel at their own expense (though the show itself was free). They also risked being photographed and harassed; Fonda recalls that the CID, 'the military equivalent of the CIA, was always around taking snapshots.'" Before arriving in Fayetteville, near Fort Bragg (nowadays Fort Liberty ), tour organizers sent

22512-467: The factories and they begin to have an effect on the political complexion of the country. The same reporter pointed out that Fonda had a lot to lose and asked whether she feared "for her career in movies?" Fonda responded, "if, because of my political activities, I were prevented from working in Hollywood—and there are no indications that that is likely to happen—I would work elsewhere. That's all." By

22713-479: The famous and magical Harry Houdini , and child star Baby Rose Marie . In the New-York Tribune ' s article about Vaudeville, it is said that at any given time, Vaudeville was employing over twelve thousand different people throughout its entire industry. Each entertainer would be on the road 42 weeks at a time while working a particular "Circuit" – or an individual theatre chain of a major company. While

22914-422: The famous and magical Harry Houdini , and child star Baby Rose Marie . In the New-York Tribune ' s article about Vaudeville, it is said that at any given time, Vaudeville was employing over twelve thousand different people throughout its entire industry. Each entertainer would be on the road 42 weeks at a time while working a particular "Circuit" – or an individual theatre chain of a major company. While

23115-489: The humanity of Vietnamese and denigrating American minorities who lived in so-called slums." In 1970 The New York Times quoted one of Hope's writers, "He just doesn't understand how the G.I. of today feels." The writer jokingly continued, "When he sees a V sign in his audience he thinks two guys want to go to the bathroom." The Times also cited a Newsweek magazine report: "Hope was met by 'a barrage of boos' last December when he said President Nixon had asked him to tell

23316-491: The instructions given to them by B. F. Keith for fear of losing their careers forever. By the late 1890s, vaudeville had large circuits, houses (small and large) in almost every sizable location, standardized booking, broad pools of skilled acts, and a loyal national following. One of the biggest circuits was Martin Beck's Orpheum Circuit . It incorporated in 1919 and brought together 45 vaudeville theatres in 36 cities throughout

23517-444: The instructions given to them by B. F. Keith for fear of losing their careers forever. By the late 1890s, vaudeville had large circuits, houses (small and large) in almost every sizable location, standardized booking, broad pools of skilled acts, and a loyal national following. One of the biggest circuits was Martin Beck's Orpheum Circuit . It incorporated in 1919 and brought together 45 vaudeville theatres in 36 cities throughout

23718-427: The last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest in the vaudeville industry realized the form was in decline; the perceptive understood the condition to be terminal. The standardized film distribution and talking pictures of the 1930s confirmed the end of vaudeville. By 1930,

23919-427: The last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest in the vaudeville industry realized the form was in decline; the perceptive understood the condition to be terminal. The standardized film distribution and talking pictures of the 1930s confirmed the end of vaudeville. By 1930,

24120-533: The local high school auditorium and, when that was turned down, took the issue to court. The day before the first scheduled show the court denied their petition forcing the performances into the relatively small local GI Coffeehouse , the Oleo Strut , whose maximum legal capacity was 250. With people "sitting on the floor as tightly as possible", they played five shows over two days "to packed houses and enthusiastic crowds", with others standing "outside to listen or catch

24321-563: The lower-priced cinema in the early 1910s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast television 's diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the US in vaudeville halls. The first public showing of movies projected on a screen took place at Koster and Bial's Music Hall in 1896. Lured by greater salaries and less arduous working conditions, many performers and personalities, such as Al Jolson , W. C. Fields , Mae West , Buster Keaton ,

24522-563: The lower-priced cinema in the early 1910s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast television 's diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the US in vaudeville halls. The first public showing of movies projected on a screen took place at Koster and Bial's Music Hall in 1896. Lured by greater salaries and less arduous working conditions, many performers and personalities, such as Al Jolson , W. C. Fields , Mae West , Buster Keaton ,

24723-460: The loyalty of his own troops — an increasingly common concern as the Vietnam War continued. Sergeant (Alaimo): I'm going to get a watch dog. Private (Sutherland): Why do you need a watch dog? You're surrounded by 200 armed men. Sergeant: That's why I'm gonna get the dog. Another skit had Peter Boyle imitating a tough Nixon confronting his troops: I have heard that there is dissent among

24924-531: The mid-1860s, impresario Tony Pastor , a former singing circus clown who had become a prominent variety theater performer and manager, capitalized on middle class sensibilities and spending power when he began to feature "polite" variety programs in his New York City theatres. Pastor opened his first "Opera House" on the Bowery in 1865, later moving his variety theater operation to Broadway and, finally, to Fourteenth Street near Union Square . He only began to use

25125-483: The mid-1860s, impresario Tony Pastor , a former singing circus clown who had become a prominent variety theater performer and manager, capitalized on middle class sensibilities and spending power when he began to feature "polite" variety programs in his New York City theatres. Pastor opened his first "Opera House" on the Bowery in 1865, later moving his variety theater operation to Broadway and, finally, to Fourteenth Street near Union Square . He only began to use

25326-480: The most prominent vaudevillians successfully made the transition to cinema, though others were not as successful. Some performers such as Bert Lahr fashioned careers out of combining live performance with radio and film roles. Many others later appeared in the Catskill resorts that constituted the " Borscht Belt ". Vaudeville was instrumental in the success of the newer media of film, radio, and television. Comedies of

25527-430: The most prominent vaudevillians successfully made the transition to cinema, though others were not as successful. Some performers such as Bert Lahr fashioned careers out of combining live performance with radio and film roles. Many others later appeared in the Catskill resorts that constituted the " Borscht Belt ". Vaudeville was instrumental in the success of the newer media of film, radio, and television. Comedies of

25728-529: The nearby base so GIs from the imagined unit storming the Capitol (or sometimes the White House ) were sitting in the audience. According to Bragg Briefs , the base underground GI newspaper at Fort Bragg , when this routine was done there "The GI's response...was a tremendous roar of clenched fists raised in solidarity." This skit had Michael Alaimo as an Army "lifer" (slang for a gung ho military type) worried about

25929-636: The neighborhood character of vaudeville attendance had always promoted a tendency to tailor fare to specific audiences, mature vaudeville grew to feature houses and circuits specifically aimed at certain demographic groups. Black patrons, often segregated into the rear of the second gallery in white-oriented theatres, had their own smaller circuits, as did speakers of Italian and Yiddish (see below). This foreign addition combined with comedy produced such acts as "minstrel shows of antebellum America" and Yiddish theatre. Many ethnic families joined in on this entertainment business, and for them, this traveling lifestyle

26130-636: The neighborhood character of vaudeville attendance had always promoted a tendency to tailor fare to specific audiences, mature vaudeville grew to feature houses and circuits specifically aimed at certain demographic groups. Black patrons, often segregated into the rear of the second gallery in white-oriented theatres, had their own smaller circuits, as did speakers of Italian and Yiddish (see below). This foreign addition combined with comedy produced such acts as "minstrel shows of antebellum America" and Yiddish theatre. Many ethnic families joined in on this entertainment business, and for them, this traveling lifestyle

26331-538: The new era adopted many of the dramatic and musical tropes of classic vaudeville acts. Film comedies of the 1920s through the 1940s used talent from the vaudeville stage and followed a vaudeville aesthetic of variety entertainment, both in Hollywood and in Asia, including China. The rich repertoire of the vaudeville tradition was mined for prominent prime-time radio variety shows such as The Rudy Vallée Show . The structure of

26532-439: The new era adopted many of the dramatic and musical tropes of classic vaudeville acts. Film comedies of the 1920s through the 1940s used talent from the vaudeville stage and followed a vaudeville aesthetic of variety entertainment, both in Hollywood and in Asia, including China. The rich repertoire of the vaudeville tradition was mined for prominent prime-time radio variety shows such as The Rudy Vallée Show . The structure of

26733-403: The normal show, plus an Okinawan folk song group that told the crowd, "We do not like the American military — but we know there is a difference between you, the GIs, and the brass." The next day the troupe put on an outdoor show in a bullring. Much of the content for the shows came from GI newspapers. Often, the skits were based on antiwar and anti-military comic strips which had been reprinted in

26934-635: The press that "as tourists, they could not engage in theatrical performances or political activity of any kind." At another press conference a representative of the Japan Committee for Peace in Vietnam, who had welcomed the FTA Show to Japan, "claimed the Government action was prompted by 'fear that the entry of the FTA troupe might give impetus to antiwar activities by U.S. servicemen at U.S. military bases in Japan.'" Very soon immigration authorities agreed to allow

27135-404: The promotion of black-face minstrelsy on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy. Although the Irish had a strong Celtic presence in vaudeville and in the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor. As the Irish donned their ethnic costumes, groups such as

27336-404: The promotion of black-face minstrelsy on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy. Although the Irish had a strong Celtic presence in vaudeville and in the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor. As the Irish donned their ethnic costumes, groups such as

27537-532: The recent, worldwide phenomenon of TV shows such as America's Got Talent . In professional wrestling , there was a noted tag team, based in WWE , called The Vaudevillains . In 2018, noted film director Christopher Annino, maker of a new silent feature film, Silent Times , founded Vaudeville Con, a gathering to celebrate the history of vaudeville. The first meeting was held in Pawcatuck, Connecticut . The records of

27738-436: The recent, worldwide phenomenon of TV shows such as America's Got Talent . In professional wrestling , there was a noted tag team, based in WWE , called The Vaudevillains . In 2018, noted film director Christopher Annino, maker of a new silent feature film, Silent Times , founded Vaudeville Con, a gathering to celebrate the history of vaudeville. The first meeting was held in Pawcatuck, Connecticut . The records of

27939-582: The return of the base to the Japanese people." As the Marines read, "hundreds of GIs and Japanese raised their fists after each demand." The last show in Japan was on December 22 at the Misawa City Civic Center, Misawa City , Japan , near the Misawa U.S. Air Base . Military intelligence reported "approximately 1,000 persons attended the show", estimating that 60 percent were Japanese and the rest GIs. Misawa

28140-613: The scheduled May 15 performances, Concerned Military circulated a petition requesting that the show be presented on the deck of the carrier U.S.S. Constellation (a courtesy routinely extended to the Bob Hope USO Show). Although nearly fifteen hundred members of the crew signed the appeal, Captain Harry Gerhard flatly rejected it. Nonetheless, the show's performances in San Diego were a huge success, attracting over four thousand people,

28341-586: The show in the Fort Lewis official base newspaper. Several new performers joined the troupe in Tacoma, including the Broadway actor and dancer, Ben Vereen and the rocker Country Joe McDonald who received standing ovations at both shows. Country Joe was already famous among GIs for his song " The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Rag " whose chorus "One, two, three, what are we fighting for?" had become an anthem of

28542-462: The show toured to over 64,000 troops, playing near, but never on, bases in North Carolina, California, Washington, Texas, Idaho, New Jersey, Okinawa, Japan, the Philippines, and Hawaii." And this, even when GIs "might risk official or unofficial discipline for attending an antiwar show". One historian, quoting a The Washington Post reporter, described the show's popularity as "notable, considering

28743-454: The show's script to the base's commanding General asking for permission to perform on the base. Dr. Levy told the press with a straight face, "We expect his full cooperation", noting they had "contingency plans" to perform in the local Haymarket GI Coffeehouse off base, which is where they ended up. They also applied to use the Fayetteville municipal auditorium and sued when pro-military city officials turned them down. A federal judge overruled

28944-533: The show, including approximately 2,500 GIs and "several hundred crew members" from the USS Coral Sea , which had just arrived from San Francisco where many of its crew had been involved in and influenced by the significant Stop Our Ship movement then taking place in California . After the show, approximately 50 crewmen met with the show's cast and, when the ship pulled out of port to continue to Southeast Asia, 53 sailors were missing. Six shows were scheduled in

29145-534: The show, the town's police forced them to stop. In San Antonio, "the show filled a downtown club with over 2,300 spectators, 'military, front to back […] Less than 50 tickets were sold to civilians,' according to the San Antonio Light . On November 21, 1971, prior to departing for U.S. military bases in the Pacific, the FTA held a benefit performance in New York City at Lincoln Center 's Philharmonic Hall before

29346-451: The silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount place in the public's affection. With the introduction of talking pictures in 1926, the burgeoning film studios removed what had remained the chief difference in favor of live theatrical performance: spoken dialogue. Historian John Kenrick wrote: Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed

29547-451: The silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount place in the public's affection. With the introduction of talking pictures in 1926, the burgeoning film studios removed what had remained the chief difference in favor of live theatrical performance: spoken dialogue. Historian John Kenrick wrote: Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed

29748-464: The slang of vaudevillians), built by Martin Beck in 1913 and operated by Keith. Featuring a bill stocked with inventive novelty acts, national celebrities, and acknowledged masters of vaudeville performance (such as comedian and trick roper Will Rogers ), the Palace provided what many vaudevillians considered the apotheosis of remarkable careers. A standard show bill would begin with a sketch, follow with

29949-415: The slang of vaudevillians), built by Martin Beck in 1913 and operated by Keith. Featuring a bill stocked with inventive novelty acts, national celebrities, and acknowledged masters of vaudeville performance (such as comedian and trick roper Will Rogers ), the Palace provided what many vaudevillians considered the apotheosis of remarkable careers. A standard show bill would begin with a sketch, follow with

30150-448: The songs that were popularized onstage by white singers, and paved the way for African-American musical theater . In addition to vaudeville's prominence as a form of American entertainment, it reflected the newly evolving urban inner-city culture and interaction of its operators and audience. Making up a large portion of immigration to the United States in the mid-19th century, Irish Americans interacted with established Americans, with

30351-448: The songs that were popularized onstage by white singers, and paved the way for African-American musical theater . In addition to vaudeville's prominence as a form of American entertainment, it reflected the newly evolving urban inner-city culture and interaction of its operators and audience. Making up a large portion of immigration to the United States in the mid-19th century, Irish Americans interacted with established Americans, with

30552-463: The spring of 1971, a three-hour program had been developed, which was "rehearsed in New York City for a few weeks before taking the show on the road." The tour, referred to as "political vaudeville " by Fonda and The New York Times , began to visit military towns throughout the U.S. and then Asia with the goal of establishing a dialogue with soldiers about their upcoming deployments to Vietnam . At

30753-410: The term "vaudeville" in place of "variety" in early 1876. Hoping to draw a potential audience from female and family-based shopping traffic uptown , Pastor barred the sale of liquor in his theatres, eliminated bawdy material from his shows, and offered gifts of coal and hams to attendees. Pastor's experiment proved successful, and other managers soon followed suit. The manager's comments, sent back to

30954-410: The term "vaudeville" in place of "variety" in early 1876. Hoping to draw a potential audience from female and family-based shopping traffic uptown , Pastor barred the sale of liquor in his theatres, eliminated bawdy material from his shows, and offered gifts of coal and hams to attendees. Pastor's experiment proved successful, and other managers soon followed suit. The manager's comments, sent back to

31155-627: The theatres built by impresario Alexander Pantages . Pantages often used architect B. Marcus Priteca (1881–1971), who in turn regularly worked with muralist Anthony Heinsbergen . Priteca devised an exotic, neo-classical style that his employer called "Pantages Greek". Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn theatres, or multi-purpose halls, together catering to

31356-627: The theatres built by impresario Alexander Pantages . Pantages often used architect B. Marcus Priteca (1881–1971), who in turn regularly worked with muralist Anthony Heinsbergen . Priteca devised an exotic, neo-classical style that his employer called "Pantages Greek". Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn theatres, or multi-purpose halls, together catering to

31557-483: The time the FTA Show had travelled around the continental U.S. and was headed to Hawaii and then Asia, they had developed a more official statement of purpose: The G.I. movement exists on nearly every United States military installation around the world. It is made up of American servicemen and women who have come to realize that if there is to be an end to the U.S. military involvement in South East Asia — an end to

31758-690: The time. She worked largely in comedy and gained acclaim and success due to her willingness to step into other's roles who had fallen ill, and were otherwise unable to perform. In her acts, she often emphasized her plus-size figure, calling herself the "perfect forty-six". Friganza was also a poet and writer. She used many of her performances as ways to raise money to support the poor or disenfranchised and went on record publicly numerous times to support these social causes. Friganza also spent much of her life fighting for women's equality and pushing for self-acceptance for women, both publicly and within themselves, as well as their rights in comparison to men. Betty Felsen

31959-690: The time. She worked largely in comedy and gained acclaim and success due to her willingness to step into other's roles who had fallen ill, and were otherwise unable to perform. In her acts, she often emphasized her plus-size figure, calling herself the "perfect forty-six". Friganza was also a poet and writer. She used many of her performances as ways to raise money to support the poor or disenfranchised and went on record publicly numerous times to support these social causes. Friganza also spent much of her life fighting for women's equality and pushing for self-acceptance for women, both publicly and within themselves, as well as their rights in comparison to men. Betty Felsen

32160-469: The troops at Fort Ord (this always varied by location). Now let me make myself perfectly clear. I am here to gather a referendum on our role in Southeast Asia. All those in favor of continued involvement in Southeast Asia say, "I". (Silence covers the whole audience) All those in favor of immediate withdrawal from Southeast Asia say, "I". (Crowd roared) Again, according to Bragg Briefs , when this

32361-465: The troops he had 'a solid plan for ending the war.'" At a Saigon USO show in 1970, an opening act of GI musicians dedicated their first song to "Mr. Bob Hope" and proceeded to play the heavy metal antiwar classic by Black Sabbath , " War Pigs ". These contending views intensified and by 1970 both The New York Times and The Washington Post were taking note of U.S. troop "disillusionment with Hope's humor and prowar message". Fonda told reporters that

32562-456: The troupe to stay. On December 10, they performed "to over 800 GIs in a hall meant to hold 520" at Fussa Citizens Hall, Fussa-Shi, Tokyo, about two blocks from the Yokota U.S. Air Force Base . During the Vietnam War, Yokota was a staging ground for B-52 bombing runs over Southeast Asia and a base for Air Force fighter squadrons. A troupe member reported in an article in the GI newspaper Cry Out that

32763-592: The vast majority of formerly live theatres had been wired for sound, and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but most theatres were forced by the Great Depression to economize. Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences. There

32964-534: The vast majority of formerly live theatres had been wired for sound, and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but most theatres were forced by the Great Depression to economize. Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences. There

33165-478: The vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant population and in their new country as a whole by the Irish on stage. Unfortunately, the same interactions between ethnic groups within the close living conditions of cities also created racial tensions which were reflected in vaudeville. Conflict between Irish and African Americans saw

33366-478: The vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant population and in their new country as a whole by the Irish on stage. Unfortunately, the same interactions between ethnic groups within the close living conditions of cities also created racial tensions which were reflected in vaudeville. Conflict between Irish and African Americans saw

33567-400: The war — it is they who must end it. In response to the invitation of servicemen and women within the G.I. movement we have formed the F.T.A. Show in order to support their fight to end discrimination against people because of race, sex, class, religion and personal or political belief. The F.T.A. Show By the end of 1971 when the tour ended, in addition to its clear anti-Vietnam War thrust,

33768-461: The war, saying "We ought to move a little faster – hawk style." Further, Hope's old fashioned vaudeville -rooted style and jokes "began to fall flat for audiences of young GIs, who often found [his] show corny at best, offensive at worst." His retro comedy often "objectified his female co-stars" and included "racist jokes." "During one show he infamously joked that the bombing of North Vietnam was 'the best slum clearance project they ever had,' insulting

33969-529: The winter of 1923 Betty began a partnership with Jack Broderick. From then until the end of 927 Broderick & Felsen performed on the B.F. Keith and Pantages vaudeville circuits throughout the U.S. and Canada. Their act evolved from a simple dance act to one with over twenty dancers, an orchestra, and elaborate costumes and sets. From 1925 to 1926 they played for 20 straight weeks at the huge Colony Theater on Broadway in New York City. In 1926 and 1927, they starred in two spectacular musical productions, touring across

34170-529: The winter of 1923 Betty began a partnership with Jack Broderick. From then until the end of 927 Broderick & Felsen performed on the B.F. Keith and Pantages vaudeville circuits throughout the U.S. and Canada. Their act evolved from a simple dance act to one with over twenty dancers, an orchestra, and elaborate costumes and sets. From 1925 to 1926 they played for 20 straight weeks at the huge Colony Theater on Broadway in New York City. In 1926 and 1927, they starred in two spectacular musical productions, touring across

34371-486: The years progressed, people seeking diversified amusement found an increasing number of ways to be entertained. Vaudeville was characterized by traveling companies touring through cities and towns. A handful of circuses regularly toured the country; dime museums appealed to the curious; amusement parks, riverboats, and town halls often featured "cleaner" presentations of variety entertainment; compared to saloons, music halls, and burlesque houses, which catered to those with

34572-486: The years progressed, people seeking diversified amusement found an increasing number of ways to be entertained. Vaudeville was characterized by traveling companies touring through cities and towns. A handful of circuses regularly toured the country; dime museums appealed to the curious; amusement parks, riverboats, and town halls often featured "cleaner" presentations of variety entertainment; compared to saloons, music halls, and burlesque houses, which catered to those with

34773-443: The young, first term enlisted man." The next night they performed just outside Yokosuka Naval Base before "an audience of nearly 1,400 included some 500 GIs." Some pro-Vietnam War hecklers tried to disrupt the show and were quoted as saying "they liked to go to Vietnam to kill people because they made $ 65 extra a month in combat pay." Soon other members of the audience began to heckle the hecklers and then Donald Sutherland spoke to

34974-585: Was a comedienne who got her start in Vaudeville and the Chitlin circuits in the 1920s, and ended up with mainstream success in the 20th century. Other 20th century women performers who started in Vaudeville included blues singers Ma Rainey , Ida Cox and Bessie Smith . Women-led touring companies like Black Patti's Troubadours , the Whitman Sisters and the Hyers Sisters were popular acts. Other women worked

35175-427: Was a comedienne who got her start in Vaudeville and the Chitlin circuits in the 1920s, and ended up with mainstream success in the 20th century. Other 20th century women performers who started in Vaudeville included blues singers Ma Rainey , Ida Cox and Bessie Smith . Women-led touring companies like Black Patti's Troubadours , the Whitman Sisters and the Hyers Sisters were popular acts. Other women worked

35376-616: Was accepted to be a member of the Chicago Opera’s Pavley-Oukrainsky Ballet corps de ballet. From December 1920 until the fall of 1922 Betty was a ballerina soloist and performed with them throughout North America. Under the name Buddye Felsen, Betty landed a starring dancing role in a new show at Fred Mann’s Million Dollar Rainbo Room in the Rainbo Gardens . The show, Rainbo Trail , directed by Frank Westphal , opened on 15 December 1922, and ran until 1 March 1923. In

35577-477: Was accepted to be a member of the Chicago Opera’s Pavley-Oukrainsky Ballet corps de ballet. From December 1920 until the fall of 1922 Betty was a ballerina soloist and performed with them throughout North America. Under the name Buddye Felsen, Betty landed a starring dancing role in a new show at Fred Mann’s Million Dollar Rainbo Room in the Rainbo Gardens . The show, Rainbo Trail , directed by Frank Westphal , opened on 15 December 1922, and ran until 1 March 1923. In

35778-635: Was an American ballerina, vaudeville star, and teacher. She was born on 9 June 1905, in Chicago, IL Betty began taking lessons at a local Chicago ballet school when she was eight years old, and often performed solo dances in shows presented by that school. Just before her tenth birthday in 1916, her parents enrolled her as a ballet student with the Pavley-Oukrainsky Ballet School within the Chicago Opera Association. Then, in 1919 Betty

35979-445: Was an American ballerina, vaudeville star, and teacher. She was born on 9 June 1905, in Chicago, IL Betty began taking lessons at a local Chicago ballet school when she was eight years old, and often performed solo dances in shows presented by that school. Just before her tenth birthday in 1916, her parents enrolled her as a ballet student with the Pavley-Oukrainsky Ballet School within the Chicago Opera Association. Then, in 1919 Betty

36180-553: Was convinced "The military is filled with men who are against the war!" She explained: Most of them are enlisted men from working-class families—not college student who were drafted. They are the sons of the hard-hats, and they form the link that has been missing so long between the essentially white, middle-class peace movement and the working class. They have very few options—so they join the army. Well, it doesn't take them very long to understand that they're being messed over. And they start doing something about it. Then they go back into

36381-514: Was done for the Fort Bragg troops, "The cheer that followed this was more than a cheer, it was a spontaneous cry that burst from the throats." Country Joe McDonald 's "Fish Cheer", really "Fuck Cheer" at these shows, always brought every crowd to its feet. Here's the first verse and chorus that followed the cheer: Yeah, come on all of you big strong men Uncle Sam needs your help again He's got himself in

36582-433: Was expanding. These expectations for women in the 19th century played a big role in the compelling aspects of vaudeville. Through vaudeville, many women were allowed to join their male counterparts on the stage and found success in their acts. Leila Marie Koerber, later Marie Dressler , was a Canadian actress who specialized in vaudeville comedy, and eventually won an Academy Award for Best Actress later in her career. Being

36783-433: Was expanding. These expectations for women in the 19th century played a big role in the compelling aspects of vaudeville. Through vaudeville, many women were allowed to join their male counterparts on the stage and found success in their acts. Leila Marie Koerber, later Marie Dressler , was a Canadian actress who specialized in vaudeville comedy, and eventually won an Academy Award for Best Actress later in her career. Being

36984-606: Was explosive. The local GI underground newspaper, the Lewis-McChord Free Press , reported that the show was "very funny" and "the crowd was beautiful". The FTA then moved on to the Covered Wagon coffeehouse just outside the Mountain Home Air Force Base near Boise, Idaho on August 14 and 15. The Covered Wagon shows were completely sold out, as were two shows the day before at Boise State College 's Liberal Arts Auditorium. While in town, several members of

37185-836: Was in the auditorium at Saint Louis University in Baguio where the John Hay Air Force Base was located. The auditorium was packed with over 5,000 people, mostly "college-age Filipinos", again according to military intelligence. The next two shows were on December 4 and 5 in Olongapo City where the U.S. Naval Base at Subic Bay was located. Subic Bay at the time was the U.S. Seventh Fleet 's main base for repair and replenishment. Two other shows were scheduled to be presented in Manila, but it's unclear whether they occurred. For these shows skits were added depicting "the history of US colonialism in

37386-500: Was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s. Joseph Kennedy Sr. in a hostile buyout, acquired the Keith-Albee-Orpheum Theatres Corporation (KAO), which had more than 700 vaudeville theatres across the United States which had begun showing movies. The shift of New York City's Palace Theatre, vaudeville's center, to an exclusively cinema presentation on 16 November 1932,

37587-417: Was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s. Joseph Kennedy Sr. in a hostile buyout, acquired the Keith-Albee-Orpheum Theatres Corporation (KAO), which had more than 700 vaudeville theatres across the United States which had begun showing movies. The shift of New York City's Palace Theatre, vaudeville's center, to an exclusively cinema presentation on 16 November 1932,

37788-486: Was not an uncommon tactic used by police agencies during the Vietnam War era, but no proof has emerged either way. Their next show in Japan, just outside the Iwakuni Marine Corps Air Station , occurred after they had returned from scheduled shows in Okinawa . At the end of this show, "two Marines read a petition calling for the end to discrimination of GIs on the basis of race or political belief and for

37989-493: Was now used for comic relief on the vaudeville stage, where stereotypes of different ethnic groups were perpetuated. The crude stereotypes that emerged were easily identifiable not only by their distinct ethnic cultural attributes, but how those attributes differed from the mainstream established American culture and identity. Coupled with their historical presence on the English stage for comic relief, and as operators and actors of

38190-443: Was now used for comic relief on the vaudeville stage, where stereotypes of different ethnic groups were perpetuated. The crude stereotypes that emerged were easily identifiable not only by their distinct ethnic cultural attributes, but how those attributes differed from the mainstream established American culture and identity. Coupled with their historical presence on the English stage for comic relief, and as operators and actors of

38391-413: Was on 4 June 1928, at Broadway’s Palace Theater in New York City. Another famous comedienne, one who brought in thousands of audience members with her signature improvisational skills, was May Irwin . She worked from about 1875 to 1914. Originally born Ada Campbell, she began her life on the stage at thirteen years old following the death of her father. She and her older sister created a singing act called

38592-413: Was on 4 June 1928, at Broadway’s Palace Theater in New York City. Another famous comedienne, one who brought in thousands of audience members with her signature improvisational skills, was May Irwin . She worked from about 1875 to 1914. Originally born Ada Campbell, she began her life on the stage at thirteen years old following the death of her father. She and her older sister created a singing act called

38793-482: Was provided by Big Brother and the Holding Company and, on Saturday night, Johnny Rivers . Starting with the Monterey shows the "folksinger Len Chandler first joined the group" staying for the rest of the tour. Chandler particularly impressed the local underground GI newspaper, Every GI is a P.O.W. , which called him "absolutely fantastic". "The music he played and the social connotations blended very well to send

38994-440: Was rivaled only by churches and public schools among the nation's premiere public gathering places. Another slightly different aspect of Vaudeville was an increasing interest in the female figure. The previously mentioned ominous idea of "the blue envelopes" led to the phrase "blue" material, which described the provocative subject matter present in many Vaudeville acts of the time. Many managers even saw this scandalous material as

39195-440: Was rivaled only by churches and public schools among the nation's premiere public gathering places. Another slightly different aspect of Vaudeville was an increasing interest in the female figure. The previously mentioned ominous idea of "the blue envelopes" led to the phrase "blue" material, which described the provocative subject matter present in many Vaudeville acts of the time. Many managers even saw this scandalous material as

39396-557: Was said that if an act would succeed in Peoria, Illinois , it would work anywhere. The question "Will it play in Peoria?" has now become a metaphor for whether something appeals to the American mainstream public. The three most common levels were the "small time" (lower-paying contracts for more frequent performances in rougher, often converted theatres), the "medium time" (moderate wages for two performances each day in purpose-built theatres), and

39597-460: Was said that if an act would succeed in Peoria, Illinois , it would work anywhere. The question "Will it play in Peoria?" has now become a metaphor for whether something appeals to the American mainstream public. The three most common levels were the "small time" (lower-paying contracts for more frequent performances in rougher, often converted theatres), the "medium time" (moderate wages for two performances each day in purpose-built theatres), and

39798-460: Was simply a continuation of the circumstances that brought them to America. Through these acts, they were able to assimilate themselves into their new home while also bringing bits of their own culture into this new world. White-oriented regional circuits, such as New England 's "Peanut Circuit", also provided essential training grounds for new artists while allowing established acts to experiment with and polish new material. At its height, vaudeville

39999-460: Was simply a continuation of the circumstances that brought them to America. Through these acts, they were able to assimilate themselves into their new home while also bringing bits of their own culture into this new world. White-oriented regional circuits, such as New England 's "Peanut Circuit", also provided essential training grounds for new artists while allowing established acts to experiment with and polish new material. At its height, vaudeville

40200-961: Was the case for Sherman H. Dudley and the Griffin Sisters Later, in the 1920s, many bookings were managed by the Theatre Owners Booking Association . African-Americans challenged the prevailing Blackface stereotypes played by white performers by bringing their own authenticity and style to the stage, composing music, comedy and dance routines and laying the groundwork for distinctly American cultural phenomena like blues , jazz , ragtime and tap dance . Notable Black entertainers in Vaudeville included comedians Bert Williams , and George Walker , dancer/choreographer Ada Overton Walker , and many others. Black songwriters and composers like Bob Cole , Ernest Hogan , Irving Jones , Rosamond Johnson , George Johnson , Tom Lemonier , Gussie L. Davis , and Chris Smith , wrote many of

40401-822: Was the case for Sherman H. Dudley and the Griffin Sisters Later, in the 1920s, many bookings were managed by the Theatre Owners Booking Association . African-Americans challenged the prevailing Blackface stereotypes played by white performers by bringing their own authenticity and style to the stage, composing music, comedy and dance routines and laying the groundwork for distinctly American cultural phenomena like blues , jazz , ragtime and tap dance . Notable Black entertainers in Vaudeville included comedians Bert Williams , and George Walker , dancer/choreographer Ada Overton Walker , and many others. Black songwriters and composers like Bob Cole , Ernest Hogan , Irving Jones , Rosamond Johnson , George Johnson , Tom Lemonier , Gussie L. Davis , and Chris Smith , wrote many of

#392607