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January 4, 2012 / adgerellis

ZIEGFELD: THAT’S SHOW BUSINESS !

ZIEGFELD: The Man Who Invented Show Business, book author by Ethan Mordden. Book published by St Martin’s Press in the year 2008. Show business will be the subject of the next few post, with emphasis  on “Musical Comedy,”  book reviews, critiques and the philosophy of theater, “thespians” and the psychology of  “gayness.” Now again, there seems to be a hidden agenda, a “slander” about “gayness” and musical theater, as if there were no “real men,” but only homosexuals in “Musical Comedy.”  As noted in another post, ( link-to-past-post…https://adgerellis.wordpress.com/2011/11/12/economy-booms-sexy-part-2/ ,) please when discussing “homosexuality,” do not leave out the “Amazons, ” or “bitches” (Bitch – Wikipedia, the free encyclopedia

Bitch can refer to: A female dog · Bitch (insult), a pejorative term, usually considered profane; In slang, a complaint, …Word used to describe the act of whining excessively.)

that may or may not be active lesbians. That is just a “dumb” assumption, that seems to show an antagonism that by common sense alone makes a lie out of any idea that only “gay” people go in for music and comedy combined in to theater. The assumption is common enough, probable caused by the self-acknowledgment of may “gays” in theater, and in many causes the “light-hearted,” and stereotypical stage presentation of maleness, effeminacy, and female appearance in theater. For example, this “light-heartiness,” and stereotypical appearance of females in theater, is suppose to be funny, but not malicious. Hopefully, you will get a good laugh, not at the beautiful women, but with them, and your own voyeuristic appreciation as just a “back-handed” compliment to female beauty. This is to be stressed most strongly, the “childishness,” and “manly,- womanly,” meaning in the dichotomy between, “anima vs animus.” The fascination for “dress,” costume, uniform and ridicules spectacular, for example, can be seen in the Ziegfeld Follies. This is from a 1929 film, in the Ziegfeld Style, if the link holds…http://www.youtube.com/watch?v=NPdSQ8AZ4Z4&feature=related.  Certainly, many of the woman must have felt ridiculous in these costumes, but like any comedy, almost anything for a good laugh, and besides that, the pay was good for a little bit of work. Please see link, if somebody has not broken the link for unknown reasons…http://www.youtube.com/watch?v=7ExEkSznahA&feature=related The precision choreography dance is much like the precision military drill. Naturally, we are all products of our time, and at the time, “La Revue Des Revue, (1927),” allowed the showing of buttocks, legs, and suggestive body gyrations without being arrested for pornography. ZIEGFELD: The Man Who Invented Show Business, book author by Ethan Mordden. Book published by St Martin’s Press in the year 2008, has an interesting passage about language and ethnicity in the year 1910. “Throwed up both hands and got way back,

Took two steps for ward and balled the Jack… This sort of sexual double-meaning, later popularized in the songs of Bessie Smith and early Ethel Waters, runs directly counter to the predicament of Fanny Brice’s characters….”

Thus, in 1910, the Follies begins for the first time to evolve in both form and content. This fourth Follies surpassed its predecessors above all in the (Bert) Williams-Brice energy, so different from what mainstream entertainment was used to that some found it difficult to acquire the taste. Abe Erlanger got there, but he made it the hard way, starting with the dress rehearsal before the Atlantic City tryout, when he ordered Brice to clean up the diction in Joe Jordan and Will Cook’s “Lovie Joe.”

The tale of a guy from Birmingham who “can do some lovin’ and some lovin’ sho’  ” was pure coon song in not only its particulars- Birmingham was a key location in these dialect numbers-but its language. “An when he starts to love me I jes’ hollers ‘Mo’!’ ” After Brice finished, out of the darkness of the auditorium came the voice of Erlanger: “Will you please sing that chorus over and pronounce those words ‘sure’ and ‘more’ ?” Why was Erlanger making an issue out of a feature of a genre that had been crowding the stage for a decade?…”

Halloween in America is a holiday mostly for children to dress-up in costume, also, in the United States in the city of Philadelphia, if the following link stays-up and is not cut,..Clowning with the Classics…http://www.youtube.com/watch?v=MpA2DNr-aaI. Women were not officially allowed in the parade until the 1970s.  However, as usual, there are “killjoys” who dislike seeing other people happy and having fun. Who knows what goes through their mind that makes then a No Fear Shakespeare

The Taming of the Shrew, and “Common Scold”!…Part II – Obsolete Crimes

This Part implements recommendations of the Law Commission.

Section 13 abolished the common law offences of champerty and barratry, challenging to fight, eavesdropping or being “a common scold or a common night walker.” It also repealed the offence of praemunire, which had survived on the statute books since 1392. It preserves the common law offence of embracery…Common scold,..see Wikipedia link as follows…http://en.wikipedia.org/wiki/Common_scold.

“Mardi Gras” in New Orleans still shows some of the revelry that is found in Europe in the pre-Lent session of “Carnival.” See link, New Orleans if, if  link holds…http://www.youtube.com/watch?v=mvdyzjOp-z0. The music of Carnival goes the full spectrum from classical to “pop,” to novelty songs, just to be funny and have a good laugh. In northern Europe and the mountain regions the winter weather is very gloomy, snow, rain, ice and cold wind that if it were not for the humor and “light-heartiness” of Carnival seasons the climate of winter would probably drive people crazy…-Hence,  the catharsis,..Humba, Humba, Tatera…http://www.youtube.com/watch?v=Ouv4YveeSE4&feature=related  and a wild release of inhibitions and sexuality just before Spring and Easter. “Cross-dressing” is common for the release of “pent-up” inhibitions from a cold frigid winter climate.

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