121-622: William Penn Adair Rogers (November 4, 1879 – August 15, 1935) was an American vaudeville performer, actor, and humorous social commentator. He was born as a citizen of the Cherokee Nation , in the Indian Territory (now part of Oklahoma ), and is known as "Oklahoma's Favorite Son". As an entertainer and humorist, he traveled around the world three times, made 71 films (50 silent films and 21 "talkies"), and wrote more than 4,000 nationally syndicated newspaper columns. By
242-476: 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
363-584: 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
484-609: A World War II hero, played his father in two films, and was elected to Congress. Mary became a Broadway actress, and James "Jim" was a newspaperman and rancher; Fred died of diphtheria at age two. The family lived in New York, but they spent summers in Oklahoma. In 1911, Rogers bought a 20-acre (8.1 ha) ranch near Claremore, Oklahoma , which he intended to use as his retirement home. He paid US$ 500 an acre, equal to $ 16,350 per acre today. From about 1925 to 1928, Rogers traveled
605-487: A candidate's image? Ballyhoo: "I hope there is some sane people who will appreciate dignity and not showmanship in their choice for the presidency" (October 5). What of ugly campaign rumors? Don't worry: "The things they whisper aren't as bad as what they say out loud" (October 12). After Rogers gained recognition as a humorist-philosopher in vaudeville, he gained a national audience in acting and literary careers from 1915 to 1935. In these years, Rogers increasingly expressed
726-463: 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
847-560: A cowboy. Rogers's cowboy was an unfettered man free of institutional restraints, with no bureaucrats to order his life. When he came back to the United States and worked in Wild West shows, he slowly began adding the occasional spoken ad lib, such as "Swingin' a rope's all right... if your neck ain't in it." Audiences responded to his laconic but pointed humor, and were just as fascinated by his frontier Oklahoma twang. By 1916, Rogers
968-686: A fear that Europeans would go to war again. He recommended isolationism for the United States. He reasoned that for the moment, American needs could best be served by concentrating on domestic questions and avoiding foreign entanglements. He commented: "Rogers' philosophy was reactionary, dispiriting and provincial, despite every affectation of bonhomie and tolerance. It scorned ideas and the people who held them, it relied on vague evolution rather than direct action, its fixed smile concealed rigidity of opinion that middle America need not be disturbed from its own prejudices and limitations."—Film critic David Thomson in A Biographical History of Film (1976) Rogers
1089-480: 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
1210-546: A guest of U.S. Ambassador Dwight Morrow . Rogers gave numerous after-dinner speeches, became a popular convention speaker, and gave dozens of benefits for victims of floods, droughts, or earthquakes. Rogers traveled to Asia to perform in 1931, and to Central and South America the following year. In 1934, he made a globe-girdling tour and returned to play the lead in Eugene O'Neill 's stage play Ah, Wilderness! . He had tentatively agreed to go on loan from Fox to MGM to star in
1331-475: A host of other controversial topics in a way that found general acclaim from a national audience with no one offended. His aphorisms, couched in humorous terms, were widely quoted, for example, "I am not a member of an organized political party. I am a Democrat." One of Rogers's most famous sayings was "I never met a man I didn't like" and he even provided an epigram on this famous epigram: When I die, my epitaph , or whatever you call those signs on gravestones,
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#17327828460521452-415: 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
1573-535: 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
1694-530: 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
1815-430: A nonpartisan point of view and became a friend of presidents and a confidant of the great. Loved for his cool mind and warm heart, he was often considered the successor to such greats as Artemus Ward and Mark Twain . Rogers was not the first entertainer to use political humor before his audience. Others, such as Broadway comedian Raymond Hitchcock and Britain's Sir Harry Lauder , preceded him by several years. Bob Hope
1936-528: 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
2057-572: 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
2178-575: A simple cowboy; his characters evolved to explore the meaning of innocence in ordinary life. In his last movies, Rogers explores a society fracturing into competing classes from economic pressures. Throughout his career, Rogers was a link to a better, more comprehensible past. In 1926, the high-circulation weekly magazine The Saturday Evening Post financed a European tour for Rogers, in return for publication of his articles. Rogers made whirlwind visits to numerous European capitals and met with both international figures and common people. His articles reflected
2299-459: 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 ,
2420-402: 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 ,
2541-745: A small town banker ( David Harum ) in 1934, and a rustic politician ( Judge Priest ) in 1934. He was also in County Chairman (1935), Steamboat Round the Bend (1935), and In Old Kentucky (1935). His favorite director was John Ford . Rogers appeared in 21 feature films alongside such noted performers as Lew Ayres , Billie Burke , Richard Cromwell , Jane Darwell , Andy Devine , Janet Gaynor , Rochelle Hudson , Boris Karloff , Myrna Loy , Joel McCrea , Hattie McDaniel , Ray Milland , Maureen O'Sullivan , ZaSu Pitts , Dick Powell , Bill "Bojangles" Robinson , Mickey Rooney , and Peggy Wood . He
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#17327828460522662-659: 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
2783-411: 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
2904-496: 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
3025-628: 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
3146-521: 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
3267-431: A travelogue series in 1927. After that, he did not return to the screen until beginning work in the ' talkies ' in 1929. Rogers made 48 silent movies, but with the arrival of sound in 1929, he became a top star in that medium. His first sound film, They Had to See Paris (1929), gave him the chance to exercise his verbal wit. He played a homespun farmer ( State Fair) in 1933, an old-fashioned doctor ( Dr. Bull ) in 1933,
3388-485: 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
3509-401: 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
3630-580: A weekly column, titled "Slipping the Lariat Over", at the end of 1922. He had already published a book of wisecracks and had begun a steady stream of humor books. Through the columns for the McNaught Syndicate between 1922 and 1935, as well as his personal appearances and radio broadcasts, he won the loving admiration of the American people, poking jibes in witty ways at the issues of the day and prominent people—often politicians. He wrote from
3751-505: 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
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3872-552: Is going to read: "I joked about every prominent man of my time, but I never met a man I dident [ sic ] like." I am so proud of that, I can hardly wait to die so it can be carved. Rogers was born on his parents' Dog Iron Ranch in the Cherokee Nation of Indian Territory , near present-day Oologah, Oklahoma , now in Rogers County , named in honor of his father, Clement V. Rogers . The house in which he
3993-505: Is named in honor of him. He served several terms in the Cherokee Senate. Roach (1980) presents a sociological-psychological assessment of the relationship between Will and his father during the formative boyhood and teenage years. Clement had high expectations for his son and wanted him to be more responsible and business-minded. Will was more easygoing and oriented toward the loving affection offered by his mother, Mary, rather than
4114-667: Is often claimed he took a job breaking in horses for the British Army , but the Boer War had ended three months earlier. Rogers was hired at James Piccione's ranch near Mooi River Station in the Pietermaritzburg district of Natal . Rogers began his show business career as a trick roper in "Texas Jack's Wild West Circus" in South Africa: He [Texas Jack] had a little Wild West aggregation that visited
4235-494: 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
4356-484: 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
4477-535: Is the best known political humorist to follow Rogers's example. Radio was the exciting new medium, and Rogers became a star there as well, broadcasting his newspaper pieces. From 1929 to 1935, he made radio broadcasts for the Gulf Oil Company. This weekly Sunday evening show, The Gulf Headliners , ranked among the top radio programs in the country. Since Rogers easily rambled from one subject to another, reacting to his studio audience, he often lost track of
4598-518: 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
4719-556: The Kemper Military School at Boonville over the 1897–98 school year. He was a good student and an avid reader of The New York Times , but he dropped out of school after the 10th grade. Rogers later said that he was a poor student, saying that he "studied the Fourth Reader for ten years". He was much more interested in cowboys and horses, and learned to rope and use a lariat . In 1899, Rogers appeared in
4840-734: 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
4961-620: The Pacific Palisades and set up his own production company. While Rogers enjoyed film acting, his appearances in silent movies suffered from the obvious restrictions of silence, as he had gained his fame as a commentator on stage. He wrote many of the title cards appearing in his films. In 1923, he began a one-year stint for Hal Roach and made 12 pictures. Among the films he made for Roach in 1924 were three directed by Rob Wagner : Two Wagons Both Covered , Going to Congress , and Our Congressman . He made two other feature silents and
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5082-671: 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
5203-659: 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
5324-541: The self-made man , the common man, who believed in America, in progress, and in the American Dream of upward mobility. His humor never offended even those who were the targets of it. In the 1920s, the United States was happy and prosperous in various ways (leading to the nickname Roaring Twenties ), but it also suffered from rapid change and social tensions. Some people were disenchanted by, and alienated from,
5445-457: 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
5566-425: 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
5687-520: The 1935 movie version of the play. But, concerned about a fan's reaction to the "facts-of-life" talk between his character and the latter's son, he declined the role. He and Wiley Post made plans to fly to Alaska that summer. Rogers was a Democrat but has historically been known as apolitical. He was friends with every president starting with Theodore Roosevelt , and he notably supported Republican Calvin Coolidge over John W. Davis in 1924. During
5808-584: 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
5929-584: 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
6050-423: 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
6171-453: 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
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#17327828460526292-578: The New York area in those years. Rogers could make a film, yet easily still rehearse and perform in the Follies . He eventually appeared in most of the Follies , from 1916 to 1925. Hollywood discovered Rogers in 1918, as Samuel Goldwyn gave him the title role in Laughing Bill Hyde . A three-year contract with Goldwyn, at triple the Broadway salary, moved Rogers west. He bought a ranch in
6413-546: The Paint Clan. Unlike his father Clement's people, Mary's Cherokee relatives had been expelled from Georgia under the Indian Removal Act of 1830 in an exodus known as The Trail of Tears . Of the 16,000 Cherokees driven to Indian Territory (later Oklahoma), 4,000 perished en route . She died of amoebic dysentery when Will was 10 years of age. His father remarried almost three years after her death. Rogers
6534-550: The Republican Convention of 1928, while criticizing the party platform, Rogers welcomed the nomination of Kaw citizen Charles Curtis as vice president, although he felt the leadership had deliberately kept him from the presidency: "The Republican Party owed him something, but I didn't think they would be so low down as to pay him that way." Four years later, when the Republican leadership attempted to remove
6655-787: The St. Louis Fair as part of the Mulhall Rodeo. Near the end of 1901, when he was 22 years old, he and a friend, Dick Parris, left home hoping to work as gauchos in Argentina . They arrived in Argentina in May 1902, and spent five months trying to make it as ranch owners in the Pampas . Rogers and his partner lost all their money, and he later said, "I was ashamed to send home for more." The two friends separated and Rogers sailed for South Africa . It
6776-423: 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
6897-466: 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
7018-621: The United States in 1904, appeared at the Saint Louis World's Fair , and began to try his roping skills on the vaudeville circuits. On a trip to New York City, Rogers was at Madison Square Garden , on April 27, 1905, when a wild steer broke out of the arena and began to climb into the viewing stands. Rogers roped the steer to the delight of the crowd. The feat got front page attention from the newspapers, giving him valuable publicity and an audience eager to see more. Willie Hammerstein saw his vaudeville act, and signed Rogers to appear on
7139-716: The Victoria Roof—which was literally on a rooftop—with his pony. For the next decade, Rogers estimated he worked for 50 weeks a year at the Roof and at the city's myriad vaudeville theaters. Rogers later recalled these early years: In the fall of 1915, Rogers began to appear in Florenz Ziegfeld 's Midnight Frolic . The variety revue began at midnight in the top-floor night club of Ziegfeld's New Amsterdam Theatre , and drew many influential—and regular—customers. By this time, Rogers had refined his act. His monologues on
7260-1027: 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
7381-426: The camps and did a tremendous business. I did some roping and riding, and Jack, who was one of the smartest showmen I ever knew, took a great interest in me. It was he who gave me the idea for my original stage act with my pony. I learned a lot about the show business from him. He could do a bum act with a rope that an ordinary man couldn't get away with, and make the audience think it was great, so I used to study him by
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#17327828460527502-500: 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,
7623-420: 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,
7744-436: The common man? Easy: "You can't make any commoner appeal than I can" (August 16). What does the farmer need? Obvious: "He needs a punch in the jaw if he believes that either of the parties cares a damn about him after the election" (August 23). Can voters be fooled? Darn tootin': "Of all the bunk handed out during a campaign the biggest one of all is to try and compliment the knowledge of the voter" (September 21). What about
7865-416: 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
7986-409: 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
8107-505: 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
8228-401: 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 ,
8349-487: 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
8470-456: The half-hour time limit in his earliest broadcasts, and was cut off in mid-sentence. To correct this, he brought in a wind-up alarm clock, and its on-air buzzing alerted him to begin wrapping up his comments. By 1935, his show was being announced as "Will Rogers and his Famous Alarm Clock". In 1908, Rogers married Betty Blake (1879–1944), and the couple had four children: Will Rogers Jr. , Mary Amelia, James Blake , and Fred Stone. Will Jr. became
8591-559: The harshness of his father. The personality clash increased after his mother's death when the boy was ten. Young Will went from one venture to another with little success. Only after Will won acclaim in vaudeville did the rift begin to heal. Clement's death in 1911 precluded a full reconciliation. Will Rogers attended school in Indian Territory, at the Willie Halsell College at Vinita in 1895 and 1896, and then
8712-517: The hour, and from him I learned the great secret of the show business—knowing when to get off. It's the fellow who knows when to quit that the audience wants more of. Grateful for the guidance but anxious to move on, Rogers quit the circus and went to Australia. Texas Jack gave him a reference letter for the Wirth Brothers Circus there, and Rogers continued to perform as a rider and trick roper, and worked on his pony act. He returned to
8833-495: 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
8954-427: 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,
9075-429: The length and breadth of the United States in a "lecture tour". (He began his lectures by pointing out that "A humorist entertains, and a lecturer annoys.") During this time he became the first civilian to fly from coast to coast with pilots flying the mail in early air mail flights. The National Press Club dubbed him "Ambassador at Large of the United States". He visited Mexico City , along with Charles Lindbergh , as
9196-563: 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 ,
9317-399: The mass-circulation upscale magazine The Saturday Evening Post . Rogers advised Americans to embrace the frontier values of neighborliness and democracy on the domestic front, while remaining clear of foreign entanglements. He took a strong, highly popular stand in favor of aviation, including a military air force of the sort his flying buddy General Billy Mitchell advocated. Rogers began
9438-535: 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
9559-820: The mid-1930s, Rogers was hugely popular in the United States for his leading political wit and was the highest paid of Hollywood film stars. He died in 1935 with aviator Wiley Post when their small airplane crashed in northern Alaska. Rogers began his career as a performer on vaudeville. His rope act led to success in the Ziegfeld Follies , which in turn led to the first of his many movie contracts. His 1920s syndicated newspaper column and his radio appearances increased his visibility and popularity. Rogers crusaded for aviation expansion and provided Americans with first-hand accounts of his world travels. His earthy anecdotes and folksy style allowed him to poke fun at gangsters, prohibition , politicians, government programs, and
9680-493: The money we do spend on Government and it's not one bit better than the government we got for one-third the money twenty years ago." Rogers served as a goodwill ambassador to Mexico, and had a brief stint as mayor of Beverly Hills , a largely ceremonial position that allowed Rogers to joke about do-nothing politicians such as himself. During the depths of the Great Depression , angered by Washington's inability to feed
9801-489: The more conservative Curtis from the Hoover ticket, Rogers defended him, and took credit for keeping him on the ticket: "I saved my 'Injun' Charley Curtis for vice presidency. The rascals was just ready to stab him when we caught 'em." In 1932 Rogers supported Democrat Franklin D. Roosevelt , who was his favorite president and politician. Although he supported Roosevelt's New Deal , he could just as easily joke about it: "Lord,
9922-485: 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
10043-636: 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
10164-547: 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
10285-449: The news of the day followed a similar routine every night. He appeared on stage in his cowboy outfit, nonchalantly twirling his lasso, and said, "Well, what shall I talk about? I ain't got anything funny to say. All I know is what I read in the papers." He would make jokes about what he had read in that day's newspapers. The line "All I know is what I read in the papers" is often incorrectly described as Rogers's most famous punch line, when it
10406-545: The outside world. Many common people believed that World War I had resulted in extensive and largely senseless carnage, and they supported isolationism for the US. According to scholar Peter Rollins (1976), Rogers appeared to be an anchor of stability; his conventional home life and traditional moral code reminded people of a recent past. His newspaper column, which ran from 1922 to 1935, expressed his traditional morality and his belief that political problems were not as serious as they sounded. In his films, Rogers began by playing
10527-561: The people, he embarked on a cross-country fundraising tour for the Red Cross . Rogers thought all campaigning was bunk. To prove the point, he mounted a mock campaign in 1928 for the presidency. His only vehicle was the pages of Life , a weekly humor magazine. The campaign was in large part an effort to boost circulation for the struggling magazine. Rogers ran as the "bunkless candidate" of the Anti-Bunk Party. His campaign promise
10648-404: 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
10769-540: 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
10890-612: The rest of his career around that skill. A 1922 editorial in The New York Times said that "Will Rogers in the Follies is carrying on the tradition of Aristophanes , and not unworthily." Rogers branched into silent films too, for Samuel Goldwyn 's company Goldwyn Pictures . He made his first silent movie, Laughing Bill Hyde (1918), which was filmed in Fort Lee, New Jersey . Many early films were filmed and produced in
11011-652: The school day. His most unusual role may have been in the first talking version of Mark Twain 's novel A Connecticut Yankee in King Arthur's Court . His popularity soared to new heights with films including Young As You Feel , Judge Priest , and Life Begins at 40 , with Richard Cromwell and Rochelle Hudson. Rogers was an indefatigable worker. He toured the lecture circuit. The New York Times syndicated his weekly newspaper column from 1922 to 1935. Going daily in 1926, his short column "Will Rogers Says" reached 40 million newspaper readers. He also wrote frequently for
11132-451: 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
11253-468: 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
11374-448: 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
11495-410: 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
11616-627: 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
11737-690: 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
11858-534: 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
11979-478: 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
12100-436: The views of the "common man" in America. He downplayed academic credentials, noting, "Everybody is ignorant, only on different subjects." Americans of all walks admired his individualism, his appreciation for democratic ideas, and his liberal philosophies on most issues. Moreover, Rogers extolled hard work in order to succeed, and such expressions affirmed American theories about how to realize individual success. Rogers symbolized
12221-592: 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
12342-486: 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
12463-603: 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
12584-461: Was a featured star in Ziegfeld's Follies on Broadway, as he moved into satire by transforming the "Ropin' Fool" to the "Talkin' Fool". At one performance, with President Woodrow Wilson in the audience, Rogers improvised a "roast" of presidential policies that had Wilson, and the entire audience, in stitches and proved his remarkable skill at off-the-cuff, witty commentary on current events. He built
12705-660: Was a leader in the Cherokee Nation . An attorney and Cherokee judge, Clement owned two slaves he had acquired from his father, and was a Confederate combat veteran of the American Civil War. He was promoted to regimental captain under Confederate colonel (later Brigadier General) Stand Watie and fought at the Battle of Pea Ridge (1862). Clement served as a delegate to the Oklahoma Constitutional Convention . Rogers County, Oklahoma ,
12826-623: 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
12947-664: 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
13068-534: Was born had been built in 1875 and was known as the "White House on the Verdigris River ". His parents, Clement V. (Clem) Rogers (1839–1911) and Mary America Schrimsher (1838–1890), were both mixed-race with Cherokee ancestry, and considered themselves Cherokee. Rogers quipped that his ancestors did not come over on the Mayflower , but they "met the boat". His mother was one quarter-Cherokee and born into
13189-626: Was directed three times by John Ford. He appeared in four films with his friend Stepin Fetchit (aka Lincoln T. Perry): David Harum (1934), Judge Priest (1934), Steamboat Round the Bend (1935) and The County Chairman (1935). With his voice becoming increasingly familiar to audiences, Rogers essentially played himself in each film, without film makeup, managing to ad-lib and sometimes work in his familiar commentaries on politics. The clean moral tone of his films resulted in various public schools taking their classes to attend special showings during
13310-433: 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
13431-512: Was famous for his use of language. He effectively used up-to-date slang and invented new words to fit his needs. He also made frequent use of puns and terms which closely linked him to the cowboy tradition, as well as speech patterns using a southern dialect. 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
13552-475: Was his opening line. His run at the New Amsterdam ran into 1916, and Rogers's growing popularity led to an engagement on the more famous Ziegfeld Follies . At this stage, Rogers's act was strictly physical, a silent display of daring riding and clever tricks with his lariat. He discovered that audiences identified the cowboy as the archetypical American—doubtless aided by Theodore Roosevelt 's image as
13673-516: 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,
13794-498: 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
13915-413: 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
14036-440: 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
14157-565: 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
14278-460: 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
14399-505: Was that, if elected, he would resign. Every week, from Memorial Day through Election Day, Rogers caricatured the farcical humors of grave campaign politics. On election day he declared victory and resigned (he did not actually receive any state electoral votes). Asked what issues would motivate voters? Prohibition: "What's on your hip is bound to be on your mind" (July 26). Asked if there should be presidential debates? Yes: "Joint debate—in any joint you name" (August 9). How about appeals to
14520-984: 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
14641-462: Was the youngest of eight children. He was named for the Cherokee leader Colonel William Penn Adair . Only three of his siblings, sisters Sallie Clementine, Maude Ethel, and Mary (May), survived into adulthood. His mother, Mary Schrimsher, was a sister of Martha Schrimsher Gulager, the paternal grandmother of Clu Gulager , making Rogers and Gulager first cousins, once removed. His father, Clement,
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