Ken Murray (born Kenneth Abner Doncourt , July 14, 1903 – October 12, 1988) was an American comedian, actor, radio and television personality and author.
119-490: Murray was born in New York City to a family of vaudeville performers. Many sources incorrectly give his birth name as Don Court. He had an older brother, Joseph. According to Murray's autobiography Life on a Pogo Stick , as a teenager he learned that Joseph was actually his father and the couple who he thought were his parents were in fact his grandparents. The family withheld the truth from Murray because Joseph, who
238-476: 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
357-778: A heart attack . He died later that day at his home in Santa Monica at the age of 56. His last words were reportedly, "I've never felt better." His funeral service was held at the Wee Kirk o' the Heather Church in Glendale's Forest Lawn Memorial Park Cemetery where he was placed in a crypt in the Great Mausoleum. Two years following his death, his body was removed from Forest Lawn by his widow, Sylvia, who commissioned an elaborate marble monument for him featuring
476-534: A 1953 film, The Marshal's Daughter , a western that featured his protégé Laurie Anders in the title role, her sole film performance. In 1962, Murray portrayed the top hat wearing, cigar chewing, drunken Doc Willoughby in John Ford 's The Man Who Shot Liberty Valance starring John Wayne and James Stewart , arguably his most memorable screen role. Paired off for most of the picture with Edmond O'Brien as an alcoholic newspaper editor, he drunkenly rolls over
595-584: 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
714-467: 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 , a typical North American vaudeville performance was made up of a series of separate, unrelated acts grouped together on
833-463: 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
952-459: 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 is often referred to as a "vaudevillian". Vaudeville developed from many sources, including
1071-773: A few months after his death at the 12th Academy Awards , bestowed to him for his legendary career achievements in the development of motion pictures as the Academy's first president. In 1992, Fairbanks was portrayed by actor Kevin Kline in the film Chaplin . In 1998, a group of Fairbanks fans started the Douglas Fairbanks Museum in Austin, Texas. The museum building was temporarily closed for mold remediation and repairs in February 2010. In 2002, AMPAS opened
1190-480: 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
1309-415: 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
SECTION 10
#17327942406771428-687: A long rectangular reflecting pool, raised tomb, and classic Greek architecture in Hollywood Forever Cemetery in Los Angeles. The monument was dedicated in a ceremony held in October 1941, with Fairbanks' close friend Charlie Chaplin reading a remembrance. The remains of his son, Douglas Fairbanks Jr. , were also interred there upon his death in May 2000. Fairbanks became the first posthumous recipient of an Academy Honorary Award
1547-535: 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
1666-530: 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
1785-497: A party in 1916, and the couple soon began an affair. In 1917, they joined Fairbanks's friend Charlie Chaplin selling war bonds by train across the United States and delivering pro-war speeches as Four Minute Men. Pickford and Chaplin were the two highest-paid film stars in Hollywood at that time. To curtail these stars' astronomical salaries, the large studios attempted to monopolize distributors and exhibitors. By 1918, Fairbanks
1904-531: A racy stage variety show featuring Marie Wilson (among others) at the El Capitan Theatre on Vine Street in Hollywood. The Blackouts played to standing-room-only audiences for 3,844 performances, ending in 1949. Later that year, the show moved to Broadway with Marie Windsor replacing Marie Wilson. It received devastating reviews (the revue was considered too ribald for more sophisticated New York audiences) and closed after six weeks. Murray revived
2023-566: A scene from the Fairbanks version. While thanking the audience in 2012 for a Golden Globe award as Best Actor for his performance, actor Jean Dujardin added, "As Douglas Fairbanks would say", then moved his lips silently as a comedic homage. When Dujardin accepted the 2011 Academy Award for Best Actor in a Leading Role , Fairbanks was cited at length as the main inspiration for Dujardin's performance in The Artist . The Thief of Bagdad
2142-528: 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
2261-572: 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
2380-459: 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 ,
2499-402: 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 ,
SECTION 20
#17327942406772618-515: A special Academy Award for "novel and entertaining use of the medium of motion picture" and "artistry and patience" . He was also the host of The Ken Murray Show , a weekly music and comedy show on CBS Television that ran from 1950 to 1953. The show was the first to win a Freedom Foundation Award. Murray also guest starred on several television series, including The Ford Show, Starring Tennessee Ernie Ford and The Bing Crosby Show . Murray produced and co-starred as "Smiling Billy Murray" in
2737-561: A star on the Hollywood Walk of Fame at 1724 Vine Street for his contribution to the radio industry. He was a Republican . 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
2856-544: A star on the Hollywood Walk of Fame at 7020 Hollywood Boulevard . While Fairbanks had flourished in the silent genre, the restrictions of early sound films dulled his enthusiasm for film-making. His athletic abilities and general health also began to decline at this time, in part due to his years of chain-smoking . On March 29, 1928, at Pickford's bungalow, United Artists brought together Pickford, Fairbanks, Charlie Chaplin , Norma Talmadge , Gloria Swanson , John Barrymore , D. W. Griffith and Dolores del Río to speak on
2975-659: 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
3094-411: 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
3213-496: 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
3332-628: 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
3451-521: 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
3570-559: 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 the concert saloon and variety hall into its mature form throughout
3689-401: 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
Ken Murray (entertainer) - Misplaced Pages Continue
3808-417: A wealthy New Orleans sugar mill and plantation owner. The couple had a son, John, and shortly thereafter John Senior died of tuberculosis. Ella, born into a wealthy southern Roman Catholic family, was overprotected and knew little of her husband's business. Consequently, she was swindled out of her fortune by her husband's partners. Even the efforts of Charles Ullman, acting on her behalf, failed to regain any of
3927-505: 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
4046-494: 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
4165-475: 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 the vau de vire origin,
4284-581: The Blackouts on the Las Vegas stage in 1956. The show was a hit and ran for three years. After finding success on the vaudeville stage, Murray moved to Hollywood and made his film debut in the 1929 romantic drama Half Marriage , followed by a role in Leathernecking in 1930. Murray was the host of a weekly radio variety show (The Ken Murray Show) on NBC 1932-33 and on CBS 1936–37. He later
4403-734: 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
4522-616: The Motion Picture Academy and hosted the 1st Academy Awards in 1929. Born in Denver , Colorado, Fairbanks started acting from an early age and established himself as an accomplished stage actor on Broadway by the late 1900s. He made his film debut in 1915 and quickly became one of the most popular and highest paid actors in Hollywood. In 1919, he co-founded United Artists alongside Charlie Chaplin , Mary Pickford and D. W. Griffith . Fairbanks married Pickford in 1920 and
4641-671: 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
4760-528: 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 the French expression voix de ville ' voice of the city ' . A second hypothesis
4879-577: The "Fairbanks Center for Motion Picture Study" located at 333 S. La Cienega Boulevard in Beverly Hills. The building houses the Margaret Herrick Library. On November 6, 2008, the Academy of Motion Picture Arts and Sciences celebrated the publication of their "Academy Imprints" book on Douglas Fairbanks, authored by film historian Jeffrey Vance , with the screening of a new restoration print of The Gaucho with Vance introducing
Ken Murray (entertainer) - Misplaced Pages Continue
4998-457: 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
5117-425: 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
5236-589: 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
5355-543: The Academy's efforts, the Museum of Modern of Art held their first Fairbanks film retrospective in over six decades, titled "Laugh and Live: The Films of Douglas Fairbanks" which ran from December 17, 2008, to January 12, 2009. Vance opened the retrospective with a lecture and screening of the restoration print of The Gaucho . Recently, due to his involvement with the USC Fencing Club , a bronze statue of Fairbanks
5474-639: 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
5593-423: 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
5712-453: 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
5831-657: The Pickfair estate. Fairbanks and Ashley were married in Paris in March 1936. He continued to be marginally involved in the film industry and United Artists, but his later years lacked the intense focus of his film years. His health continued to decline. During his final years, he lived at 705 Ocean Front (now Palisades Beach Road) in Santa Monica, California, although much of his time was spent traveling abroad with his third wife, Lady Ashley. On December 12, 1939, Fairbanks suffered
5950-576: The Shrew (1929). This film, and his subsequent sound films, were poorly received by Depression -era audiences. The last film in which he acted was the British production The Private Life of Don Juan (1934), after which he retired from acting. Fairbanks and Pickford separated in 1933, after he began an affair with Sylvia, Lady Ashley . Pickford had also been seen in the company of a high-profile industrialist. They divorced in 1936, with Pickford keeping
6069-423: 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
SECTION 50
#17327942406776188-466: 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
6307-478: The University of Arizona. Douglas Fairbanks Douglas Elton Fairbanks Sr. (born Douglas Elton Thomas Ullman ; May 23, 1883 – December 12, 1939) was an American actor and filmmaker, best known for his swashbuckling roles in silent films . One of the biggest stars of the silent era, Fairbanks was referred to as "The King of Hollywood". He was also a founding member of United Artists as well as
6426-494: The assistant stage manager in his second year with the group. After two years he moved to New York, where he found his first Broadway role in Her Lord and Master , which premiered in February 1902. He worked in a hardware store and as a clerk in a Wall Street office between acting jobs. His Broadway appearances included the popular A Gentleman from Mississippi in 1908–09. On July 11, 1907, Fairbanks married Anna Beth Sully,
6545-540: The athletic abilities that would gain him wide attention among theatre audiences. His athleticism was not appreciated by Griffith, however, and he was brought to the attention of Anita Loos and John Emerson , who wrote and directed many of his early romantic comedies. In 1916, Fairbanks established his own company, the Douglas Fairbanks Film Corporation, and would soon get a job at Paramount . Fairbanks met actress Mary Pickford at
6664-1027: 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
6783-411: The celebrated couple were regarded as "Hollywood Royalty" and became famous for entertaining at " Pickfair ", their Beverly Hills estate. By 1920, Fairbanks had completed 29 films (28 features and one two-reel short), which showcased his ebullient screen persona and athletic ability. By 1920, he had the inspiration of staging a new type of adventure-costume picture, a genre that was then out of favor with
6902-500: 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,
7021-420: 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,
7140-463: The classic comedy Blazing Saddles , Harvey Korman 's villain character sees Fairbanks's prints at Grauman's and exclaims, "How did he do such fantastic stunts ... with such little feet?") Fairbanks was elected first President of the Motion Picture Academy of Arts and Sciences that same year, and presented the first Academy Awards at the Roosevelt Hotel . Today, Fairbanks also has
7259-469: The coattails of his father's success; he wanted to make a name for himself. Murray got his start in show business on the stage in the 1920s as a stand-up comedian . He performed his comedy act on the vaudeville circuit and in burlesque . He found success as a stage performer after appearing in Earl Carroll 's Vanities on Broadway in 1935. In the 1940s, Murray became famous for his Blackouts ,
SECTION 60
#17327942406777378-416: 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
7497-561: The couple came to be regarded as "Hollywood royalty". Primarily a comedic actor early in his career, he moved into the adventure genre with the 1920 film The Mark of Zorro and found further success in films including Robin Hood (1922) and The Thief of Bagdad (1924). Fairbanks' career rapidly declined with the advent of the " talkies " in the late 1920s. His final film was The Private Life of Don Juan (1934), after which he retired from acting but continued to be marginally involved in
7616-409: 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
7735-461: The daughter of wealthy industrialist Daniel J. Sully , in Watch Hill, Rhode Island . They had one son, Douglas Fairbanks Jr. , also a noted actor. The family moved to Los Angeles in 1915. After moving to Los Angeles, Fairbanks signed a contract with Triangle Pictures in 1915 and began working under the supervision of D. W. Griffith . His first film was titled The Lamb , in which he debuted
7854-505: 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
7973-467: The dispute was not settled until 1922. Even though the lawmakers objected to the marriage, the public widely supported the idea of "Everybody's Hero" marrying "America's Sweetheart". That enthusiasm, in fact, extended far beyond the borders of the United States. Later, while honeymooning in Europe, Fairbanks and Pickford were warmly greeted by large crowds in London and Paris. Both internationally and at home,
8092-482: The family fortune for her. Distraught and lonely, she met and married a courtly Georgian, Edward Wilcox, who turned out to be an alcoholic. After they had another son, Norris, she divorced Wilcox, with Charles acting as her own lawyer in the suit. She soon became romantically involved with Charles and agreed to move to Denver with him to pursue mining investments. They arrived in Denver in 1881 with her son John. (Norris
8211-495: The family name Fairbanks, after her first husband. Fairbanks was a Freemason , having been initiated at Beverly Hills Lodge No. 528. Douglas Fairbanks began acting at an early age, in amateur theatre on the Denver stage, performing in summer stock at the Elitch Theatre , and other productions sponsored by Margaret Fealy, who ran an acting school for young people in Denver. He attended Denver East High School , and
8330-487: 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
8449-420: The film industry and United Artists. He died in 1939 at the age of 56. Fairbanks was born Douglas Elton Thomas Ullman (spelled "Ulman" by Douglas Fairbanks Jr. in his memoirs) in Denver, Colorado . His parents were Hezekiah Charles Ullman and Ella Adelaide (née Marsh) Ullman. He had two half-brothers, John Fairbanks Jr. and Norris Wilcox, and a full brother, Robert Payne Ullman. His father, known as Charles,
8568-405: The film. The following year, opening on January 24, 2009, AMPAS mounted a major Fairbanks exhibition at its Fourth Floor Gallery, titled "Douglas Fairbanks: The First King of Hollywood". The exhibit featured costumes, props, pictures and documents from his career and personal life. In addition to the exhibit, AMPAS screened The Thief of Bagdad and The Iron Mask in March 2009. Concurrently with
8687-620: The footage in compilation films such as Hollywood Without Make-Up (1963). Footage filmed by Murray was used in several television specials, including Hollywood: My Home Town and the feature-length film Ken Murray's Shooting Stars . In 1965, Murray played a THRUSH financier and owner of a Caribbean casino in The Man from U.N.C.L.E. In 1966, Murray was cast as Melody Murphy in the Walt Disney film Follow Me, Boys! starring Fred MacMurray , Vera Miles and Kurt Russell . Murray
8806-603: The gunshot corpse of villain Liberty Valance ( Lee Marvin ) with his boot, looks around off-handedly, and says "Dead" to the surrounding crowd of euphoric Mexicans. Over the course of his career, Murray filmed Hollywood celebrities, using his 16mm home movie camera. He began filming the footage to send back home to his grandparents in lieu of writing letters. His grandmother saved the footage, which featured Hollywood stars including Douglas Fairbanks , Mary Pickford , Charlie Chaplin and Jean Harlow . Murray later assembled
8925-619: The home of actor Lew Ayres in Hollywood. Edgar Bergen served as Murray's best man. The couple had two sons, Ken, Jr. (1942-1979) and Cort Riley (born 1944), before divorcing in September 1945. Murray married his third wife, Betty Lou Walters, in December 1948. The couple had two daughters, Pam and Jane, and remained married until Murray's death on October 12, 1988, at Saint Joseph Medical Center in Burbank, California, aged 85. Murray has
9044-495: 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
9163-427: 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,
9282-563: 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 ,
9401-535: 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
9520-485: 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
9639-636: 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
9758-490: 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
9877-404: 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
9996-692: The public; Fairbanks had been a comic in his previous films. In The Mark of Zorro , Fairbanks combined his appealing screen persona with the new adventurous costume element. It was a smash success and parlayed the actor into the rank of superstar . For the remainder of his career in silent films, he continued to produce and star in ever more elaborate, impressive costume films, such as, The Three Musketeers (1921), Douglas Fairbanks in Robin Hood (1922), The Thief of Bagdad (1924), The Black Pirate (1926), and The Gaucho (1927). Fairbanks spared no expense and effort in these films, which established
10115-497: The radio show The Dodge Brothers Hour to prove Fairbanks could meet the challenge of talking movies. Fairbanks's last silent film was the lavish The Iron Mask (1929), a sequel to the 1921 release The Three Musketeers . The Iron Mask included an introductory prologue spoken by Fairbanks. He and Pickford chose to make their first talkie as a joint venture, playing Petruchio and Kate in Shakespeare 's The Taming of
10234-540: 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
10353-451: 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
10472-468: 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
10591-448: 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
10710-495: The standard for all future swashbuckling films. In 1921, he, Pickford, Chaplin, and others, helped to organize the Motion Picture Fund to assist those in the industry who could not work, or were unable to meet their bills. During the first ceremony of its type, on April 30, 1927, Fairbanks and Pickford placed their hand and footprints in wet cement at the newly opened Grauman's Chinese Theatre in Hollywood. (In
10829-453: The studios and to protect their independence, Fairbanks, Pickford, Chaplin, and D. W. Griffith formed United Artists in 1919, which created their own distributorships and gave them complete artistic control over their films and the profits generated. Sully was granted a divorce from Fairbanks in late 1918, the judgment being finalized early the following year. After the divorce, the actor was determined to have Pickford become his wife, but she
10948-410: 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
11067-627: 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
11186-690: 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
11305-600: 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
11424-478: 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
11543-529: 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
11662-486: 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
11781-410: Was Hollywood's most popular actor, and within three years of his arrival, his popularity and business acumen raised him to the third-highest paid. In 1917, Fairbanks capitalized on his rising popularity by publishing a self-help book, Laugh and Live, which extolled the power of positive thinking and self-confidence in raising one's health, business and social prospects. To avoid being controlled by
11900-603: 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
12019-623: 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
12138-400: Was also a vaudevillian, did not want the public to know that he had a young son. Joseph had divorced Murray's mother and decided that his parents would provide a more stable life than he was able to as a traveling performer. Murray also wrote of his quest to find his mother in his later years. Before embarking on a career in show business, Murray changed his name because he did not want to ride
12257-521: Was also the author of a number of books, including his autobiography published in 1960, titled The Golden Days of San Simeon (1971), and the only complete life story in print of Broadway theatre impresario Earl Carroll , titled The Body Merchant (1976). Murray was married three times and had four children. He married vaudeville and burlesque performer Carlotta (Charlotte) La Rose in 1923. The couple appeared in vaudeville together and later divorced. On July 4, 1941, Murray married model Cleatus Caldwell at
12376-664: 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
12495-667: Was born in Berrysburg, Pennsylvania , and raised in Williamsport . He was the fourth child in a Jewish family consisting of six sons and four daughters. Charles's parents, Lazarus Ullman and Lydia Abrahams, had immigrated to the U.S. in 1830 from Baden , Germany. When he was 17, Charles started a small publishing business in Philadelphia. Two years later, he left for New York to study law. Charles met Ella Adelaide Marsh after she married his friend and client John Fairbanks,
12614-403: Was erected in the Academy of Motion Picture Arts & Sciences Courtyard of the new School of Cinematic Arts building on the University of Southern California campus. Fairbanks was a key figure in the film school's founding in 1929, and in its curriculum development. The 2011 film The Artist was loosely based on Fairbanks, with the film's lead portraying Zorro in a silent film featuring
12733-433: 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
12852-424: Was expelled for cutting the strings on the school piano. He left school in the spring of 1899, at the age of 15. He variously claimed to have attended Colorado School of Mines and Harvard University , but neither claim is true. He went with the acting troupe of Frederick Warde , beginning a cross-country tour in September 1899. He toured with Warde for two seasons, functioning in dual roles, both as actor and as
12971-579: Was left in Georgia with relatives and was never sent for by his mother.) They were married; in 1882 they had a son, Robert, and then a second son, Douglas, a year later. Charles purchased several mining interests in the Rocky Mountains and re-established his law practice. After hearing of his wife's philandering, he abandoned the family when Douglas was five years old. Douglas and his older brother Robert were brought up by their mother, who gave them
13090-516: 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,
13209-498: 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
13328-413: 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
13447-440: 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
13566-565: 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
13685-571: Was screened at the 2012 edition of the Turner Classic Movies Film Festival. On April 15, 2012, the festival concluded with a sold-out screening of the Fairbanks film held at the historic Egyptian Theatre in Hollywood. The evening was introduced by Vance and TCM host Ben Mankiewicz . The nickname for the sports teams of the University of California-Santa Barbara is 'The Gauchos' in honor of Fairbanks's acting in
13804-460: 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
13923-472: Was still married to actor Owen Moore . Fairbanks finally gave her an ultimatum. She then obtained a rapid divorce in the small Nevada town of Minden on March 2, 1920. Fairbanks leased the Beverly Hills mansion Grayhall and was rumored to have used it during his courtship of Pickford. The couple married on March 28, 1920. Pickford's divorce from Moore was contested by Nevada legislators, however, and
14042-984: 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
14161-547: Was the original host (1945–57) of Queen for a Day , on the Mutual Broadcasting System radio show, which was simulcast on KTSL (now KCBS-TV ), Channel 2 in Los Angeles. During World War II, Murray was one of the many celebrities to volunteer at the Hollywood Canteen . In 1947, he produced Bill and Coo , a feature film using trained birds and other animals as actors. Bill and Coo won
#676323