Vaudeville was a theatrical genre of variety entertainment in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts included popular and classical musicians, dancers, comedians, trained animals, magicians, female and male impersonators, acrobats, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies.

Vaudeville developed from many sources, including the concert saloon, minstrelsy, freak shows, dime museums, and literary burlesque. Called "the heart of American show business," vaudeville was one of the most popular types of entertainment in North America for several decades.^[1]

Etymology[link]

The origin of the term is obscure, but is often explained as being derived from the expression voix de ville which means "voice of the city" or "songs of the town." A second speculation is that it comes from the fifteenth century songs on satire by Olivier Basselin, "Vaux de Vire."^[2] Another plausible etymology finds origins in the French Vau de Vire, a valley in Normandy noted for its style of satirical songs with topical themes.^[3] The term vaudeville, referring specifically to North American variety entertainment, came into common usage after 1871 with the formation of Sargent's Great Vaudeville Company of Louisville, Kentucky. It had little, if anything, to do with the Comédie en vaudeville of the French theatre.^[4]

Leavitt's and Sargent's shows differed little from the coarser material presented in earlier itinerant entertainments, although their use of the term to provide a veneer of respectability points to an early effort to cater variety amusements to the growing middle class. Though vaudeville had been used in the United States as early as the 1830s, most variety theatres adopted the term in the late 1880s and early 1890s for two reasons. First, seeking middle class patrons, they wished to distance themselves from the earlier rowdy, working-class variety halls. Second, the French or pseudo-French term lent an air of sophistication, and perhaps made the institution seem more consistent with the Progressive Era's interests in education and self-betterment. Some, however, preferred the earlier term "variety" to what manager Tony Pastor called its "sissy and Frenchified" successor. Thus, vaudeville was marketed as "variety" well into the twentieth century.

Beginnings[link]

From newspaper promotional for vaudeville character actor Charles Grapewin

A descendant of variety, (c. 1860s–1881), vaudeville was distinguished from the earlier form by its mixed-gender audience, usually alcohol-free halls, and often slavish devotion to inculcating favor among members of the middle class.^{[clarification needed]} The form gradually evolved from the concert saloon and variety hall into its mature form throughout the 1870s and 1880s. This more genteel form was known as "Polite Vaudeville."^[5]

In the years before the American Civil War, entertainment existed on a different scale. Certainly, variety theatre existed before 1860 in Europe and elsewhere. In the United States, as early as the first decades of the 19th century, theatregoers could enjoy a performance consisting of Shakespeare plays, acrobatics, singing, dancing, and comedy.^{[citation needed]} As 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.^[6] 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; and saloons, music halls and burlesque houses catered to those with 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."^[7] A significant influence also came from Dutch ministrels and comedians.^[8] Medicine shows traveled 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.

In the early 1880s, impresario Tony Pastor, a circus ringmaster turned theatre manager, capitalized on middle class sensibilities and spending power when he began to feature "polite" variety programs in several of his New York City theatres. The usual date given for the "birth" of vaudeville is October 24, 1881 at New York's Fourteenth Street Theater, when Pastor famously staged the first bill of self-proclaimed "clean" vaudeville in New York City. ^[9] 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.

Popularity[link]

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 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, 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 a set of guidelines to be an audience member at his show, and these were reinforced by the ushers working in the theater.^[10]

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 a theater where Mr. Keith is in authority." Along these same lines of discipline, Keith’s theater 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 the instructions given them by B.F. Keith for fear of losing their careers forever.^[11]

This 1913 how-to booklet for would-be vaudevillians was recently republished.

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 theaters in 36 cities throughout the United States and Canada and a large interest in two vaudeville circuits. Another major circuit was that of Alexander Pantages. At his hey-day Pantages owned more than 30 vaudeville theaters 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 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 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 capitol of the big time was New York City's Palace Theatre (or just “The Palace” in 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 apotheoses of remarkable careers. A standard show bill would begin with a sketch, follow with 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 Eubie Blake – a piano player, the famous and magical Harry Houdini and child star, Baby Rose Marie, adds Gilbert. ^[12] 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. ^[13]

While 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. African-American 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. (For a brief discussion of Black vaudeville, see Theater Owners Booking Association.) This foreign addition combined with comedy produced such acts as “minstrel shows of antebellum America” and Yiddish theater. PBS adds that many of these ethnic families joined in on this entertainment business, and for them, this traveling lifestyle was simply a continuation of the adventures that brought them to America. Through these acts, they were able to assimilate themselves into their new home while also bring bits of their own culture into this new world. ^[14] 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 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 intrigue with 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. ^[15] Many managers even saw this scandalous material as a marketing strategy to attract many different audiences. As stated in Andrew Erdman’s book Blue Vaudeville, the Vaudeville stage was even marked with descriptions like, “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,” a fetish that historians believe emerged in the mid-nineteenth century. But more than that, these historians think that Vaudeville marked a time in which the female body became its own “sexual spectacle” more than it ever had before. 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 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 reactions to the female entertainment of this time.^[16]

Decline[link]

The shift of New York City's Palace Theatre, vaudeville's epicenter, to an exclusively cinema presentation on 16 November 1932 is often considered to have been the death knell of vaudeville.^[17] No single event is more reflective of its gradual withering. The line is blurred, however, 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 a form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into partnership with the motion picture distributor Famous Players, a subsidiary of Paramount Pictures. There was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s.

The continued growth of 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 United States 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 early film and old-time radio performers, such as Al Jolson, W. C. Fields, Mae West, Buster Keaton, the Marx Brothers, Jimmy Durante, Bill 'Bojangles' Robinson, Edgar Bergen, Fanny Brice, and Eddie Cantor, used the prominence gained in live variety performance to vault into the new medium of cinema. (In so doing, 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, Kate Smith, Bob Hope, Milton Berle, Judy Garland, Rose Marie, Sammy Davis, Jr., Red Skelton, Burns and Allen, and The Three Stooges, used vaudeville only as 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.

By the late 1920s, almost no vaudeville bill failed to include a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that 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, however, the burgeoning film studios removed what had remained, for many, the chief point 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 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 fulltime movie theaters. The half-century tradition of vaudeville was effectively wiped out within less than four years."^[18]

Inevitably, managers further trimmed costs by eliminating 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 within 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, 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 the majority of 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.

Though talk of its resurrection was heard throughout the 1930s and after, the demise of the supporting apparatus of the circuits and the inescapably higher cost of live performance made any large-scale renewal of vaudeville unrealistic.

Architecture[link]

The most striking examples of Gilded Age theater architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are the theaters built by impressario 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 a wide range of clientele. Many small towns had purpose-built theatres.

Post-vaudeville[link]

Some of the most prominent vaudevillians continued the migration to cinema, though others found that the gifts that had so delighted live audiences did not translate well into different media. Some performers such as Bert Lahr fashioned careers out of combining live performance, radio and film roles. Many others later appeared in the Catskill resorts that constituted the "Borscht Belt". Many simply retired from performance and entered the workaday world of the middle class, the group that vaudeville, more than anything else, had helped to articulate and entertain.

Yet vaudeville, both in its methods and ruling aesthetic, influenced the succeeding media of film, radio and television. The screwball comedies of the 1930s, those reflections of the brief moment of cinematic equipoise between dialogue and physicality, reflect the more madcap comedic elements of some vaudeville acts (e.g., The Three Keatons).^{[citation needed]} The arsenal of the vaudeville tradition was reused in the preeminent prime-time radio variety shows, like The Rudy Vallee Show.^[19] From the structure of vaudeville, with a comic host doing a monologue and introducing a series of acts, originated highly successful television shows, from Milton Berle in 1948 to David Letterman's late night show of the 1980s.^[19] 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, a MacArthur Fellow and Tony Award-winning actor, are frequently lauded as being "New Vaudevillians."^[20][21]

References to vaudeville and the use of its distinctive argot continue throughout Western popular culture. Terms such as "a flop" (an act that does badly), for example, have entered the American idiom. Many of the most common performance techniques and "gags" of vaudeville entertainers are still seen on television and on film. Vaudeville, like its dime museum and variety theatre forebears, also continued and solidified a strong American absorption with foreign entertainers.

Archives[link]

The American Vaudeville Museum, the world’s largest collection of vaudeville memorabilia, is located at the University of Arizona.^[22]

The Elgin and Winter Garden Theatres in Toronto houses the world's largest collection of vaudeville props and scenery.

See also[link]

	How can they tell that I'm Irish? 1910 Edison Records recording of vaudeville performer Edward M. Favor's rendition of Clarence Wainwright Murphy's song How can they tell that I'm Irish?
Problems listening to this file? See media help.

References[link]

Wikimedia Commons has media related to: Vaudeville

External links[link]

• Modern day vaudeville theatre in Austin TX
• Vaudeville Ventriloquists
• Virtual Vaudeville
• Glossary of Vaudeville Slang
• University of Washington Libraries Digital Collections – J. Willis Sayre Photographs
• University of Washington Libraries Digital Collections – Prior and Norris Troupe Photographs
• University of Washington libraries Digital Collections - 19th Century Actors Photographs
• University of Iowa Libraries Special Collections - Keith/Albee Vaudeville Theater Collection
• Ruckus! American Entertainments at the Turn of the Twentieth Century From the collection of the Beinecke Rare Book and Manuscript Library at Yale University
• Hear Gary Stephens on vaudeville, ICA 1988

Eddie Cantor
Eddie Cantor (right) with Bert Gordon, aka "the Mad Russian"
Born	Edward Israel Iskowitz (1892-01-31)January 31, 1892 New York City, New York, U.S.
Died	October 10, 1964(1964-10-10) (aged 72) Beverly Hills, California, U.S.
Occupation	Actor, comedian, dancer, singer-songwriter
Years active	1907–53
Spouse	Ida Cantor (1914–62) 5 daughters

Eddie Cantor (January 31, 1892 – October 10, 1964), born Edward Israel Iskowitz,^[1] was an American "illustrated song" performer, comedian, dancer, singer, actor and songwriter.^[2] Familiar to Broadway, radio, movie and early television audiences, this "Apostle of Pep" was regarded almost as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife Ida and five daughters. Some of his hits include "Makin' Whoopee," "Ida," "If You Knew Susie," "Ma! He's Makin' Eyes at Me," "Margie" and "How Ya Gonna Keep 'Em Down on the Farm (After They've Seen Paree?)" He also wrote a few songs, including "Merrily We Roll Along," the Merrie Melodies Warner Bros. cartoon theme.

His eye-rolling song-and-dance routines eventually led to his nickname, "Banjo Eyes." In 1933, the artist Frederick J. Garner caricatured Cantor with large round eyes resembling the drum-like pot of a banjo. Cantor's eyes became his trademark, often exaggerated in illustrations, and leading to his appearance on Broadway in the musical Banjo Eyes (1941).

His charity and humanitarian work was extensive, and he is credited with coining the phrase and helping to develop The March of Dimes.

Biography[link]

Cantor was born in New York City, the son of Russian-Jewish immigrants, Meta and Mechel Iskowitz. His mother died in childbirth one year after his birth, and his father died of pneumonia when Eddie was two, leaving him to be raised by his beloved grandmother, Esther Kantrowitz.^[3] As a child, he attended Surprise Lake Camp.^[4] A misunderstanding when signing her grandson for school gave him her last name of Kantrowitz (shortened by the clerk to Kanter). Esther died on January 29, 1917, two days before he signed a long-term contract with Florenz Ziegfeld Jr. to appear in his Follies.

The Cantors in 1952.

He had adopted the first name "Eddie" when he met his future wife Ida Tobias in 1903, because she felt that "Izzy" wasn't the right name for an actor. Cantor married Ida in 1914. They (famously) had five daughters, Marjorie, Natalie, Edna, Marilyn and Janet, who provided comic fodder for Cantor's longtime running gag, especially on radio, about his five unmarriageable daughters. Several radio historians, including Gerald Nachman (Raised on Radio), have said that this gag did not always sit well with the girls.

He was the second president of the Screen Actors Guild, serving from 1933 to 1935. He invented the title "The March of Dimes" for the donation campaigns of the National Foundation for Infantile Paralysis, which was organized to combat polio. It was a play on the The March of Time newsreels popular at the time. He began the first campaign on his own radio show in January 1938, asking people to mail a dime to the nation's most famous assumed polio victim, President Franklin D. Roosevelt. Other entertainers joined in the appeal via their own shows, and the White House mail room was deluged with 2,680,000 dimes.

Following the death of daughter Marjorie at the age of 44, both Eddie's and Ida's health declined rapidly. Ida died in August 1962 of "cardiac insufficiency."^[3][5] On October 10, 1964 in Beverly Hills, California, Eddie Cantor suffered another heart attack and died, aged 72. He is buried in Hillside Memorial Park Cemetery. Cantor was awarded an honorary Academy Award the year of his death, for distinguished service to the film industry.

Stage[link]

Saloon songs to vaudeville[link]

By his early teens Cantor began winning talent contests at local theaters and started appearing on stage. One of his earliest paying jobs was doubling as a waiter and performer, singing for tips at Carey Walsh's Coney Island saloon, where a young Jimmy Durante accompanied him on piano. He made his first public appearance in Vaudeville in 1907 at New York's Clinton Music Hall. In 1912, he was the only performer over the age of 20 to appear in Gus Edwards's Kid Kabaret, where he created his first blackface character, "Jefferson." He later toured with Al Lee as the team "Cantor & Lee." Critical praise from that show got the attention of Broadway's top producer, Florenz Ziegfeld, who gave Cantor a spot in the Ziegfeld rooftop post-show, Midnight Frolic (1917).^[3]

Broadway[link]

A year later, Cantor made his Broadway debut in the Ziegfeld Follies of 1917. He continued in the Follies until 1927,^[6] a period considered the best years of the long-running revue. For several years Cantor co-starred in an act with pioneer African-American comedian Bert Williams, both appearing in blackface; Cantor played Williams's fresh-talking son. Other co-stars with Cantor during his time in the Follies included Will Rogers, Marilyn Miller, Fanny Brice and W.C. Fields.^[7] He moved on to stardom in book musicals, starting with Kid Boots (1923) and Whoopee! (1928).^[6]

• Ziegfeld Follies of 1917 - revue - performer
• Ziegfeld Follies of 1918 - revue - performer, co-composer and co-lyricist for "Broadway's Not a Bad Place After All" with Harry Ruby
• Ziegfeld Follies of 1919 - revue - performer, lyricist for "(Oh! She's the) Last Rose of Summer"
• Ziegfeld Follies of 1920 - revue - composer for "Green River," composer and lyricist for "Every Blossom I See Reminds Me of You" and "I Found a Baby on My Door Step"
• The Midnight Rounders of 1920 - revue - performer
• Broadway Brevities of 1920 - revue - performer
• Make It Snappy (1922) - revue - performer, co-bookwriter
• Ziegfeld Follies of 1923 - revue - sketch writer
• Kid Boots (1923) - musical comedy - actor in the role of "Kid Boots" (the Caddie Master)
• Ziegfeld Follies of 1927 - revue - performer, co-bookwriter
• Whoopee! (1928) - musical comedy - actor in the role of "Henry Williams"
• Eddie Cantor at the Palace (1931) - solo performance
• Banjo Eyes (1941) - musical comedy - actor in the role of "Erwin Trowbridge"
• Nellie Bly (1946) - musical comedy - co-producer

Radio and recordings[link]

Radio[link]

Cantor appeared on radio as early as February 3, 1922, as indicated by this news item from Connecticut's Bridgeport Telegram:

Local radio operators listened to one of the finest programs yet produced over the radiophone last night. The program of entertainment which included some of the stars of Broadway musical comedy and vaudeville was broadcast from the Newark, N. J. station WDY and the Pittsburgh station KDKA, both of the Westinghouse Electric and Manufacturing Company. The Newark entertainment started at 7 o'clock: a children's half-hour of music and fairy stories; 7:[35?], Hawaiian airs and violin solo; 8:00, news of the day; and at 8:20 a radio party with nationally known comedians participating; 9:55, Arlington time signals and 10:01, a government weather report. G. E. Nothnagle, who conducts a radiophone station at his home 176 Waldemere Avenue said last night that he was delighted with the program, especially with the numbers sung by Eddie Cantor. The weather conditions are excellent for receiving, he continued, the tone and the quality of the messages was fine.^[8]

Cantor's appearance with Rudy Vallee on Vallee's The Fleischmann's Yeast Hour on February 5, 1931 led to a four-week tryout with NBC's The Chase and Sanborn Hour. Replacing Maurice Chevalier, who was returning to Paris, Cantor joined Chase and Sanborn on September 13, 1931. This hour-long Sunday evening variety series teamed Cantor with announcer Jimmy Wallington and violinist Dave Rubinoff. The show established Cantor as a leading comedian, and his scriptwriter, David Freedman, as “the Captain of Comedy.” Cantor soon became the world's highest-paid radio star. His shows began with a crowd chanting "We want Can-tor! We want Can-tor!," a phrase said to have originated in vaudeville, when the audience chanted to chase off an act on the bill before Cantor. Cantor's theme song was his own lyric to the Leo Robin/Richard Whiting song, "One Hour with You." His radio sidekicks included Bert Gordon, (comic Barney Gorodetsky, aka "The Mad Russian") and Harry Parke (better known as "Parkyakarkus"). Cantor also discovered and helped guide the career of singer Dinah Shore, first featuring her on his radio show in 1940, as well as other performers, including Deanna Durbin, Bobby Breen and Eddie Fisher.

Indicative of his effect on the mass audience, he agreed in November 1934 to introduce a new song by the songwriters J. Fred Coots and Haven Gillespie that other well-known artists had rejected as being "silly" and "childish." The song, "Santa Claus Is Coming to Town," immediately had orders for 100,000 copies of sheet music the next day. It sold 400,000 copies by Christmas of that year.

His NBC radio show, Time to Smile, was broadcast from 1940 to 1946, followed by his Pabst Blue Ribbon Show from 1946 through 1949. He also served as emcee of The $64 Question during 1949-'50, and hosted a weekly disc jockey program for Philip Morris during the 1952-'53 season. In addition to film and radio, Cantor recorded for Hit of the Week Records, then again for Columbia, for Banner and Decca and various small labels.

His heavy political involvement began early in his career, including his participation in the strike to form Actors Equity in 1919, provoking the anger of father figure and producer, Florenz Ziegfeld. At the 1939 New York World's Fair, Cantor publicly denounced antisemitic radio personality Father Charles Coughlin and was dropped by his sponsor, Camel cigarettes. A year and a half later, it was his friend Jack Benny who was able to get him back on the air.

Recordings[link]

Cantor began making phonograph records in 1917, recording both comedy songs and routines and popular songs of the day, first for Victor, then for Aeoleon-Vocalion, Pathé and Emerson. From 1921 through 1925 he had an exclusive contract with Columbia Records, returning to Victor for the remainder of the decade.

Cantor was one of the era's most successful entertainers, but the 1929 stock market crash took away his multi-millionaire status and left him deeply in debt. However, Cantor's relentless attention to his own earnings in order to avoid the poverty he knew growing up caused him to use his writing talent, quickly building a new bank account with his highly popular, bestselling books of humor and cartoons about his experience, Caught Short! A Saga of Wailing Wall Street ^[9] in 1929 "A.C." (After Crash), and Yoo-Hoo, Prosperity!

Cantor was also a composer, with his most famous song seldom attributed to him. In 1935, along with Charles Tobias and Murray Mencher, Cantor wrote "Merrily We Roll Along," which he recorded in the 1950s. It was adapted as the themesong for the Merrie Melodies series of animated cartoons, distributed by Warner Brothers Pictures between 1937 and 1964. Cantor himself was frequently caricatured in Warner cartoons of the period, (see Film and television: Animation).

Film and television[link]

Cantor also bounced back between movies and on radio. He had previously appeared in a number of short films, performing his Follies songs and comedy routines, and two silent features (Special Delivery and Kid Boots) in the 1920s. He was offered the lead in The Jazz Singer after it was turned down by George Jessel. Cantor also turned the role down (so it went to Al Jolson), but he became a leading Hollywood star in 1930 with the film version of Whoopee!, shot in two-strip Technicolor. He continued making films over the next two decades until his last starring role in If You Knew Susie (1948).

Filmography[link]

Television[link]

Cantor as host of The Colgate Comedy Hour, 1952.

In the 1950s, he was one of the alternating hosts of the television show The Colgate Comedy Hour, in which he would introduce variety acts and play comic characters like "Maxie the Taxi." However, the show landed Cantor in an unlikely controversy when a young Sammy Davis, Jr. appeared as a guest performer. Cantor embraced Davis and mopped Davis's brow with his handkerchief after his performance. Worried sponsors led NBC to threaten cancellation of the show; Cantor's response was to book Davis for two more weeks.

On May 25, 1944, pioneer television station WPTZ (now KYW-TV) in Philadelphia presented a special telecast featuring Eddie Cantor, which was also fed to the NBC television station in New York City, WNBT (now WNBC). Cantor, one of the first major stars to agree to appear on television, was to sing "We're Havin' a Baby, My Baby and Me". Arriving shortly before airtime at the Philadelphia studios, Cantor was reportedly told to cut the song because the NBC New York censors considered some of the lyrics too risqué. Cantor refused, claiming no time to prepare an alternative number. NBC relented, but the sound was cut and the picture blurred on certain lines in the song. This is considered the first instance of television censorship.^{[citation needed]}

Animation[link]

Cantor appears in caricature form in numerous Looney Tunes cartoons produced for Warner Bros., although he was often voiced by an imitator. Beginning with I Like Mountain Music (1933), other animated Cantor cameos include Shuffle Off to Buffalo (Harman-Ising, 1933) and Billboard Frolics (Friz Freleng, 1935). Eddie Cantor is one of the four "down on their luck" stars (along with Bing Crosby, Al Jolson and Jack Benny) snubbed by Elmer Fudd in What’s Up, Doc? (Bob McKimson, 1950). In Farm Frolics (Bob Clampett, 1941), a horse, asked by the narrator to "do a canter," promptly launches into a singing, dancing, eye-rolling impression. The Cantor gag that got the most mileage, however, was his oft-repeated wish for a son after five famous daughters. Slap Happy Pappy (Clampett, 1940) features an “Eddie Cackler” rooster who wants a boy, to little avail. Other references can be found in Baby Bottleneck (Clampett, 1946) and Circus Today (Tex Avery, 1940). In Porky’s Naughty Nephew (Clampett, 1938) a swimming Cantor gleefully adopts a "buoy." ^[10] An animated Cantor also appears prominently in Walt Disney's Mother Goose Goes Hollywood (Wilfred Jackson, 1938) as Little Jack Horner, who sings "Sing a Song of Sixpence."

Books and merchandising[link]

Cantor's popularity led to merchandising of such products as Eddie Cantor's Tell It to the Judge game from Parker Brothers. In 1933, a set of 12 Eddie Cantor caricatures by Frederick J. Garner were published by Brown & Bigelow. These advertising cards were purchased in bulk as a direct-mail item by such businesses as auto body shops, funeral directors, dental laboratories and vegetable wholesale dealers. With the full set, companies could mail a single Cantor card each month for a year to their selected special customers as an ongoing promotion. Cantor was often caricatured on the covers of sheet music and in magazines and newspapers. Cantor was depicted as a balloon in the Macy's Thanksgiving Day Parade,^[11] one of the very few balloons based on a real person.

In addition to Caught Short!, Cantor wrote or co-wrote at least seven other books, including booklets released by the then-fledgling firm of Simon & Schuster, with Cantor’s name on the cover. (Some were "as told to" or written with David Freedman). Customers paid a dollar and received the booklet with a penny embedded in the hardcover. They sold well, and H. L. Mencken asserted that these books did more to pull America out of the Great Depression than all government measures combined.

Bibliography[link]

• My Life Is in Your Hands by Eddie Cantor (1928) with David Freedman; Harper & Bros.
• Caught Short!: A Saga of Wailing Wall Street by Eddie Cantor (1929) Simon & Schuster
• Between the Acts by Eddie Cantor (1930) Simon & Schuster
• Yoo-Hoo, Prosperity!: The Eddie Cantor Five-Year Plan by Eddie Cantor (1931) with David Freedman; Simon & Schuster
• The Rise of the Goldbergs by Gertrude Berg (1931) Forward by Eddie Cantor; Barse & Co.
• Your Next President! by Eddie Cantor (1932) with David Freedman, Illus. by S.L. Hydeman; Ray Long & Richard R. Smith, Inc.
• Eddie Cantor in An Hour with You: A Big Little Book (1934) Whitman
• Eddie Cantor Song and Joke Book (1934) Illus. by Ben Harris; M. Witmark & Sons
• Ziegfeld: The Great Glorifier by Eddie Cantor (1934) with David Freedman; Alfred H. King
• World's Book of Best Jokes by Eddie Cantor (1943) World Publishing Co.
• Hello, Momma by George Jessel (1946) Forward by Eddie Cantor, Illus. by Carl Rose; World Publishing Co.
• Take My Life by Eddie Cantor (1957) with Jane Kesner Ardmore; Doubleday
• No Man Stands Alone by Barney Ross (1957) Forward by Eddie Cantor; B. Lippincott Co.
• The Way I See It by Eddie Cantor (1959) with Phyllis Rosenteur, ed.; Prentice-Hall
• As I Remember Them by Eddie Cantor (1963) Duell, Sloan & Pearce
• Yoo-Hoo, Prosperity! and Caught Short! by Eddie Cantor (1969) Greenwood Press
• The Golden Age of Sound Comedy: Comic Films and Comedians of the Thirties by Donald W. McCaffrey (1973) A.S. Barnes
• Radio Comedy by Arthur Frank Wertheim (1979) Oxford University Press
• The Vaudevillians: A Dictionary of Vaudeville Performers by Anthony Slide (1981) Arlington House
• American Vaudeville as Seen by Its Contemporaries by Charles W. Stein, ed. (1984) Alfred A. Knopf
• Eddie Cantor: A Life in Show Business by Gregory Koseluk (1995) McFarland
• Eddie Cantor: A Bio-Bibliography by James Fisher (1997) Greenwood Press
• Banjo Eyes: Eddie Cantor and the Birth of Modern Stardom by Herbert G. Goldman (1997) Oxford University Press
• The Great American Broadcast: A Celebration of Radio's Golden Age by Leonard Maltin (1997) Dutton
• My Life Is in Your Hands and Take My Life by Eddie Cantor (2000) Cooper Square Press
• Film Clowns of the Depression: Twelve Defining Comic Performances by Wes D. Gehring (2007) McFarland
• Eddie Cantor in Laugh Land by Harold Sherman (2008) Kessinger Publishing

Tributes[link]

Cantor was profiled on the program This Is Your Life, in which an unsuspecting person (usually a celebrity) would be surprised on live television by host Ralph Edwards, with a half-hour tribute. Cantor was the only subject who was told of the surprise in advance; he was recovering from a heart attack and it was felt that the shock might harm him.

On October 29, 1995, as part of a nationwide celebration of the 75th anniversary of radio, he was posthumously inducted into the Radio Hall of Fame at Chicago's Museum of Broadcasting Communication.

In 1953 Warner Bros., in an attempt to duplicate the box-office success of The Jolson Story, filmed a big-budget Technicolor feature film, The Eddie Cantor Story. The film found an audience but might have done better with someone else in the leading role. Actor Keefe Brasselle played Cantor as a caricature with high-pressure dialogue and bulging eyes wide open; the fact that Brasselle was considerably taller than Cantor didn't lend realism either. Eddie and Ida Cantor were seen in a brief prologue and epilogue set in a projection room, where they are watching Brasselle in action; at the end of the film Eddie tells Ida, "I never looked better in my life"... and gives the audience a knowing, incredulous look. George Burns, in his memoir All My Best Friends, claimed that Warner Bros. created a miracle producing the movie in that "it made Eddie Cantor's life boring".

Something closer to the real Eddie Cantor story is his self-produced 1944 feature Show Business, a valentine to vaudeville and show folks that was RKO's top-grossing film that year. Probably the best summary of Cantor's career is in one of the Colgate Comedy Hour shows. The Colgate hour was a virtual video autobiography, with Cantor recounting his career, singing his familiar hits, and re-creating his singing-waiter days with his old pal Jimmy Durante. This show has been issued on DVD as Eddie Cantor in Person.

As talented as Cantor was, he is an excellent example of the mega star who virtually vanishes with the passing of time. His biographer, Gregory Koseluk, wrote in 1995 that Eddie "is all but forgotten," (from Eddie Cantor: A Life in Show Business [Introduction]). In recent years, Eddie Cantor has been a recurring character on HBO's series Boardwalk Empire, where he is played by Stephen DeRosa. He appeared in three episodes of the show's first season and one episode of the second season.

Sources[link]

Goldman, Herbert G. (1997). Banjo Eyes: Eddie Cantor and the Birth of Modern Stardom. New York: Oxford University Press. 

Watch[link]

• A Few Moments with Eddie Cantor, Star of "Kid Boots" (1923) A six-minute film made in Phonofilm by Lee De Forest featuring Cantor telling monologues and singing two songs.

Listen to[link]

• Command Performance 1942-03-01 ep001 - Eddie Cantor
• Command Performance 1942-04-01_ep006 Kay Kyser & Eddie Cantor
• The Chase and Sanborn Hour with Eddie Cantor (excerpts)
• Free OTR: The Eddie Cantor Show (30 1936-52 episodes)
• OTR Network Library: The Eddie Cantor Show (11 1936-52 episodes)

References[link]

External links[link]

• "Eddie Cantor" Old Time Radio
• ""Ask Eddie Cantor" Old Time Radio"

Wikisource has original works written by or about: Eddie Cantor

Biography portal

Wikimedia Commons has media related to: Eddie Cantor

• Eddie Cantor at the Internet Movie Database
• Eddie Cantor at the Internet Broadway Database
• Eddie Cantor official site
• Cantor's Sidekick: Bert 'The Mad Russian' Gordon @WFMU
• Eddie Cantor at Virtual History

MF DOOM
MF Doom at the Hultsfred Festival 2011 in Sweden
Background information
Also known as	DOOM, King Geedorah, Metal Face, Metal Fingers, Viktor Vaughn, Zev Love X, Madvillain
Born	(1971-01-09) January 9, 1971 (age 41) London, United Kingdom
Origin	Long Island, New York
Genres	East Coast hip hop
Occupations	Rapper, hip hop producer
Instruments	Vocals, sampler, synthesizer, drum machine, Pro Tools
Years active	1988–1993 1997–present
Labels	Elektra (1988–1993) Sub Verse (1997–2003) Fondle 'Em (1997–2001) Metal Face (1997–present) Big Dada (2003) Naturesounds (2003–present) Rhymesayers (2004) Stones Throw (2004–present) Lex (2005–present)
Associated acts	KMD, Madvillain, Danger Doom, Madlib, MF Grimm, Ghostface Killah, J Dilla, Count Bass D, Aesop Rock, Jneiro Jarel, Gorillaz, Masta Ace, De La Soul
Website	Official website

Daniel Dumile (pronounced /ˈduːmɨleɪ/ DOO-mə-lay; born January 9, 1971) is a hip hop artist who has taken on several stage names in his career, most notably MF Doom, often stylized as MF DOOM, where the "MF" stands for metal face, but metal fingers when using his producing name. He has appeared in several collaborative projects such as Danger Doom (with Danger Mouse) and Madvillain (with Madlib).

History[link]

Early years with KMD[link]

Dumile was born on January 9, 1971, in London, England, the son of a Trinidadian mother and Zimbabwean father.^[1] He then moved with his family to New York and was raised in the city of Long Beach, New York on Long Island.

As Zev Love X, he formed the group KMD in 1988 with his younger brother DJ Subroc and another MC called Rodan. When Rodan left the group, Zev found another MC to replace Rodan named Onyx the Birthstone Kid.^[1] A&R rep Dante Ross learned of KMD through the hip hop group 3rd Bass, and signed the group to Elektra Records.^[2]

Dumile and KMD's recorded debut came on 3rd Bass's song "The Gas Face" from The Cactus Album,^[1] followed in 1991 with KMD's album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's Yo! MTV Raps and Rap City.

Subroc was struck and killed by a car in 1993 while attempting to cross the Long Island Expressway before the release of a second KMD album, titled Black Bastards.^[1] The group was subsequently dropped from Elektra Records that same week. Before the release of the album, it was shelved due to controversy over its cover art,^[2] which featured a cartoon of a stereotypical pickaninny or sambo character being hung from the gallows.

With the loss of his brother, Dumile retreated from the hip hop scene from 1994 to 1997. He testifies to disillusionment and depression, living "damn near homeless, walking the streets of Manhattan, sleeping on benches.^[1][3]" In the late 1990s, he left New York City and settled in Atlanta. According to interviews with Dumile, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him."^[1] Black Bastards had become bootlegged at the time, leading to Doom's rise in the underground hip hop scene.

Birth of MF DOOM[link]

In 1997, Dumile began freestyling incognito at open-mic events at the Nuyorican Poets Café in Manhattan, obscuring his face by putting a stocking over his head. He meanwhile had taken on a new identity, MF Doom, patterned after and wearing a mask similar to that of Marvel Comics super-villain Doctor Doom, who is depicted rapping on the cover of the 1999 album Operation: Doomsday. He wears this mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean", "?", and in earlier photos with KMD.^[1] MF Doom's mask has undergone at least one design revision since its adoption (it is now an altered version of the mask worn by the character Maximus Decimus Meridius in the film Gladiator).

Early career[link]

Dumile released three singles on "Bobbito" García's Fondle 'Em Records, "Dead Bent", and "Greenbacks" (1997), and "The M.I.C." (1998). In 1999 Fondle 'Em released MF Doom's first full-length LP, Operation: Doomsday, which included these singles and their b-sides, and additional tracks. Dumile had used the spelling variant "M.F. DOOM" for the singles releases, but thereafter changed this to "MF DOOM".

Among the collaborators on these tracks were fellow members of the Monsta Island Czars collective (The M.I.C.), for which each artist took on the persona of a monster from the Godzilla mythos. Dumile went by the alias "King Geedorah," a three-headed golden dragon space monster, modeled after King Ghidorah, the Toho movie monster who was a three-headed dragon that often battled Godzilla. Some of his appearances on the LP are as, and are credited to this persona, instead of that of MF Doom. Dumile would revisit this character later under various name-spellings.

Guest appearances, production, and instrumental work[link]

In the years intervening before his next full-length solo release, and continually since, Dumile has appeared on several tracks on other artists' LPs and remixes, contributed one-off tracks to compilations, and done various guest production work.^[4]

In 2002, he appeared on the Sound-Ink's Colapsus collection,on a very hard to find track titled "Monday Nite at Fluid" featuring Kurious with production by King Honey, who also produced some tracks for Dumile's album Vaudeville Villain. DOOM also made an appearance in "November Has Come", a track on Gorillaz's 2005 album Demon Days, which reached #6 on the Billboard 200.^[5]

Besides the Viktor Vaughn album Dumile produces all the instrumentation tracks for his solo releases with very few exceptions.^[4]

Beginning in 2001, under the "Metal Fingers" moniker, Dumile began releasing his Special Herbs instrumentals series. Many of these beats can be heard as the instrumentation tracks throughout his body of work. A separate website catalogs for which tracks each instrumental has been used.^[6]

Ongoing career[link]

In 2003, Dumile released the King Geedorah album Take Me to Your Leader. Geedorah is credited as producer, but only appears as an MC on four tracks. The majority of vocal tracks feature guest MCs, and the album features several instrumental montages of sampled vocals from old movies and TV shows—a technique employed on most of Dumile's albums. Both Venomous Villain and Take Me to Your Leader feature appearances by MF Doom.

Also in 2003, Dumile released the LP Vaudeville Villain under the moniker Viktor Vaughn (another play on Doctor Doom, whose "real name" is Victor von Doom). In 2004 he released a follow-up LP, Venomous Villain (also called VV2).

And, in 2004, the second MF Doom album MM.. Food was released by the Minnesota-based label Rhymesayers Entertainment.

Mainstream recognition[link]

DOOM's first commercial breakthrough came in 2004, with the album Madvillainy, created with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF DOOM was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as Rolling Stone, The Washington Post, The New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion", both directed by Andrew Gura, were released on the DVDs Stones Throw 101 and Stones Throw 102: In Living the True Gods, respectively.

MF Doom collaborated with Danger Mouse who together are known as DANGERDOOM.

Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name Danger Doom. The album, released on October 11, 2005 by Epitaph, was done in collaboration with Cartoon Network's Adult Swim and featured voice-actors and characters from its programs (mostly Aqua Teen Hunger Force). Danger Doom reached #41 on the Billboard 200.^[7] In 2006 DOOM hosted the Adult Swim Christmas special and he could be seen in between shows, usually talking about what was up next, and making jokes.

2006–2009[link]

MF Doom produced tracks for both of Ghostface Killah's 2006 albums Fishscale and More Fish, and the two are currently at work on a collaboration album titled Swift & Changeable. So far only track released from the album is "Angels", which appeared on a Nature Sounds compilation in late 2006, and later re-released in a different fashion on Doom's 2009 album Born Like This. Doom has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album Chrome Children, later it appeared on Madvillainy 2 - The Madlib Remix. Other potential projects mentioned by Doom include new albums from Danger Doom,^[8] KMD, as well as further albums under both his Viktor Vaughn and King Geedorah aliases. However, many such Doom projects have been rumored in recent years without materializing.

Despite no new Doom releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD (hosted by Peanut Butter Wolf) which featured a DVD performance of Madvillain and several other Stones Throw artists. Doom also continued to work with Adult Swim doing voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.

In late January 2009, Lex records confirmed Doom's new album title to be Born Like This, and that the "MF" would be dropped from his name, now just "DOOM".^[9] The album was released worldwide on March 24, 2009.^[10] As a teaser, the track "Ballskin" was posted on Doom's Myspace page on January 13, 2009.^[11] Snippets of the entire album were made available for streaming on Doom's Myspace on the album's release date. The title for the album was inspired by the poem "Dinosauria, We" by poet and writer Charles Bukowski. Doom samples a performance of the poem by Bukowski on the track "Cellz". Previously, Doom used a Bukowski sample for a vocal interlude on 2004's "All Outta Ale.^[12] "Thom Yorke of Radiohead remixed the track "Gazillion Ear" which is available as an iTunes-only bonus track.^[13] June 26, 2009 Kurious released II which featured Doom on the song "Benetton".^[14]

2009-2012[link]

On May 26, 2010, the second single for the next Madvillain album "Paper Mill" was released through Adult Swim.^[15] Expektoration, a live Doom album, was released on September 14, 2010 through Gold Dust Media. In mid 2010, DOOM released the mix-tape "DOOM!", a collection of greatest hits, B-sides and rareties, including the theme for the video game Grand Theft Auto: Chinatown Wars featuring Ghostface Killah, and Biochemical Equation, featuring the RZA.

On July 27, 2011 DOOM and Ghostface Killah released the track "Victory Laps" from their long awaited collaboration project Swift & Changeable on the Nature Sounds label.

DOOM was chosen by Portishead to perform at the ATP I'll Be Your Mirror festival that they curated in July 2011 at London's Alexandra Palace.^[16]

DOOM will be the guest curator for Chapter 48 of Frank151's quarterly magazine. Chapter 48 will be released Summer 2012 and will feature a candid interview with DOOM on a variety of topics.^[17]

In September DOOM will be performing live as part of Bestival 2012 on the Isle Of Wight.^[18]

Live show controversy[link]

Dumile has become infamous for allegedly sending imposters to perform on his behalf.^[19] Doom initially countered such accusations by claiming that he lost weight and thus looked - and sounded - different,^[20] before his road manager described the move as an intentional choice made by Dumile.^[21] For his 2011 UK tour, a promoter for the Glasgow show - fearing reduced attendance from a cautious public - guaranteed on Twitter that Dumile would be appearing in person.

Discography[link]

Solo[link]

• 1999: Operation: Doomsday
• 2003: Take Me to Your Leader (as King Geedorah)
• 2003: Vaudeville Villain (as Viktor Vaughn)
• 2004: Venomous Villain (as Viktor Vaughn)
• 2004: Mm.. Food
• 2009: Born Like This (as DOOM)

Compilation Albums[link]

• 2009: Unexpected Guests

Collaboration Albums[link]

• 1991: Mr. Hood (as Zev Love X with KMD)
• 2001: Black Bastards (as Zev Love X with KMD)
• 2003: Escape from Monsta Island! (as King Geedorah with Monsta Island Czars)
• 2004: Madvillainy (with Madlib as Madvillain)
• 2005: The Mouse and the Mask (with Danger Mouse as DANGERDOOM)
• 2006: Occult Hymn (with Danger Mouse as DANGERDOOM)
• 2012: Son of Yvonne (with Masta Ace as MA DOOM)
• 2012: Key to the Kuffs (with Jneiro Jarel as JJ DOOM) ^[22]
• TBA: Swift & Changeable (with Ghostface Killah as DOOMSTARKS)

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Daniel Dumile

• MF Doom on Myspace
• Official website

Coordinates: 50°42′00″N 2°26′00″W / 50.7°N 2.433333°W / 50.7; -2.433333

Dorchester
Dorchester  Dorchester shown within Dorset
Population	20,101
OS grid reference	SY690906
District	West Dorset
Shire county	Dorset
Region	South West
Country	England
Sovereign state	United Kingdom
Post town	DORCHESTER
Postcode district	DT1
Dialling code	01305
Police	Dorset
Fire	Dorset
Ambulance	South Western
EU Parliament	South West England
UK Parliament	West Dorset
Website	http://www.dorchester-tc.gov.uk
List of places: UK • England • Dorset

Dorchester ( /ˈdɔrtʃɛstər/ DOR-ches-tər) is the county town of Dorset, England. A historic market town, Dorchester lies on the banks of the River Frome, in the Frome Valley, just south of the Dorset Downs and north of the South Dorset Ridgeway, that separates the area from Weymouth, 8 miles (13 km) south.

Dorchester is noted as being home and inspiration to the author Thomas Hardy, whose novels Tess of the d'Urbervilles and The Mayor of Casterbridge were both based on the town.

In the 2001 Census the official population of Dorchester was 16,171, although by 2010 this was estimated to have risen to 18,280.^[1]

History[link]

Prehistory and Romano-British[link]

Dorchester's roots stem back to prehistoric times. Settlements were first based around Maiden Castle, a large Iron Age hill fort that was one of the most powerful settlements in pre-Roman Britain, with varying tribes having existed there since 4000 BC. The Durotriges were likely to have been there at the arrival of the Romans in 43 AD.

The Romans defeated the local tribes by 70 AD. After possibly being converted from a garrison to a town, the Romans named the settlement Durnovaria. This was a Brythonic name meaning 'place with fist-sized pebbles' and appears to have taken part of its name from the local Durotriges tribe who inhabited the area. Durnovaria was first recorded in the 4th century Antonine Itinerary and became a market centre for the surrounding countryside, and an important road junction and staging post,^[2] and eventually one of the twin capitals of the Celtic Durotriges tribe.^[3]

The Romans walled the town and the remains can still be seen today. The walls were largely replaced with walks that form a square inside modern Dorchester. Known as 'The Walks' a small segment of the original Roman wall still exists today near the Top 'o Town roundabout.

Roman town house ruins in Dorchester

The town still has some Roman features, including part of the town walls and the foundations of a Roman town house, which are freely accessible near the County Hall. There are many Roman finds in the County Museum. The Romans built an 8-mile (13 km) aqueduct to supply the town with water, lengths of the terrace on which it was constructed still remain in parts. Near the town centre is Maumbury Rings, an ancient British henge earthwork converted by the Romans for use as an amphitheatre, and to the north west is Poundbury Hill, another pre-Roman fortification.

Little evidence exists to suggest continued occupation after the withdrawal of the Roman administration from Britain. Historians have suggested that the town became known as Caer Durnac, mistakenly recorded by Nennius as Caer Urnac.^[4][5] The area remained in British hands until the mid-7th century and there was certainly continuity of use of the Roman cemetery at nearby Poundbury. Dorchester has therefore been suggested as the centre of a sub-kingdom of Dumnonia or other regional power base.^[6]

Anglo-Saxon[link]

By 864, the area around Durnovaria/Caer Durnac was dominated by the newly established Saxons, who came to refer to themselves as Dorsaetas ('People of the Dor' - Durnovaria). In their own language, they referred to the town as Dornwaraceaster or Dornwaracester, combining the original name 'Dor/Dorn' from the Latin and Celtic languages with the word 'cester', which was an Anglo-Saxon word used for 'walled town'.^[7] The name would further change to Dorncester/Dornceaster until modern Dorchester emerged some time later. It continued as a thriving commercial and political centre for south Dorset with a textile trading and manufacturing industry continuing until the 17th century.^[8]

Early modern history[link]

"The town is populous, tho' not large, the streets broad, but the buildings old, and low; however, there is good company and a good deal of it; and a man that coveted a retreat in this world might as agreeably spend his time, and as well in Dorchester, as in any town I know in England". -- Daniel Defoe, in his A tour thro' the Whole Island of Great Britain (1724-1726).^[9]

In 1613 and 1725 great fires destroyed large parts of the town, but some of the mediaeval buildings, including Judge Jeffreys' lodgings, and the Tudor almshouse survive in the town centre, amongst the replacement Georgian buildings, many of which are built in Portland limestone.

In the 17th century the town was at the centre of the Puritan emigration to America, and the local rector, John White, organised the settlement of Dorchester, Massachusetts. For his efforts on behalf of Puritan dissenters, White has been called the unheralded founder of the Massachusetts Bay Colony. (Some observers have attributed the oversight to the fact that White, unlike John Winthrop, never came to America.)^[10]

In 1642, just prior to the English Civil War, Hugh Green, a Catholic chaplain was executed here. After his execution, Puritans played football with his head.^[11] The town was heavily defended against the Royalists in the Civil War.

In 1685 the Duke of Monmouth failed in his invasion attempt, the Monmouth Rebellion, and almost 300 of his men were condemned to death or transportation in the "Bloody Assizes", held in the Oak Room of the Antelope Hotel, Dorchester and presided over by Judge Jeffreys.

Modern history[link]

In 1833, the Tolpuddle Martyrs formed the Friendly Society of Agricultural Labourers. Trade unions were legal, but due to them swearing an oath of allegiance, they were arrested and tried in the Shire Hall in Dorchester. This building still remains and is preserved as it was at the time. Under the court are the cells where the prisoners were held while waiting for their court appearance. Dorchester Prison was constructed in the town during the 19th century and the prison is still in use today, holding convicted and remanded inmates from the local courts.

Dorchester remained a compact town within the boundaries of the old town walls until the latter part of the 19th century due to the ownership of all land immediately adjacent to the west, south and east by the Duchy of Cornwall. This land composed the Manor of Fordington, and a select few developments had encroached onto it:

• The Marabout Barracks, to the north of Bridport Road, in 1794
• The Dorchester Union Workhouse, to the north of Damer's Road, in 1835
• The Southampton and Dorchester Railway and its station east of Weymouth Avenue, in 1847
• The Great Western Railway and its station to the south of Damer's Road, in 1857
• The Waterworks, to the north of Bridport Road, in 1854
• A new cemetery, to the west of the new railway and east of Weymouth Avenue, in 1856
• The Dorset County Constabulary police station in 1860, west of the Southampton railway, east of Weymouth Avenue and north of Maumbury Rings.

A map of Dorchester in 1937

This remaining Duchy land was farmed under the open field system until 1874 when the land was enclosed - or consolidated - into three large farms by the landowners and residents.^[12] Soon afterwards followed a series of key developments for the town: the enclosing of Poundbury hillfort for public enjoyment in 1876, the 'Fair Field' (new site for the market, off Weymouth Avenue) in 1877, the Recreation Ground (also off Weymouth Avenue) opening in 1880, and the imposing Eldridge Pope Brewery of 1881, adjacent to the railway line to Southampton. Salisbury Field was retained for public use in 1892, with land being purchased in 1895 for the formal Borough Gardens, between West Walks and Cornwall Road.^[12] The clock and bandstand were added in 1898.^[13]

Meanwhile, land had begun to be developed for housing outside the walls. This included the Cornwall Estate, between the Borough Gardens and the Great Western Railway, from 1876 and the Prince of Wales Estate, centred on Prince of Wales Road, from 1880. Land for the Victoria Park Estate was bought in 1896 and building began in 1897, Queen Victoria's Diamond Jubilee year. The lime trees in Queen's Avenue were planted in February 1897.^[12]

Recent developments[link]

Dorchester High West Street

Poundbury is the well-known western extension of the town, constructed on Duchy of Cornwall land (owned by Charles, Prince of Wales) according to urban village principles since 1993. Being developed over 25 years, it will eventually be composed of four phases with a total of 2,500 dwellings and a population of about 6,000. Since 2008, Poundbury is now home to Dorset Fire and Rescue Service headquarters and Dorchester fire station. Prince Charles designed the estate (as well as the local Tesco supermarket) and makes several visits throughout the year.

Dorchester became Dorset's first Official Transition Initiative in 2008 as part of the Transition Towns concept.^[14] Transition Town Dorchester is a Dorchester community response to the challenges, and opportunities, of Peak Oil and Climate Change.^[15]

The town's Woolworths shop closed in January 2009 after the high-street retail chain entered administration. The store manager, however, secured investment to re-open the store in March 2009, under the name Wellworths,^[16] although due to legal reasons it was later renamed Wellchester. In May 2009, a skatepark was opened in Dorchester after 12 years of planning and construction.^[17]

The catchment population for major food retail outlets in Dorchester is 38,500 (2001 estimate). The catchment area extends eight miles west, north and east of the town, and two miles south.^[1] Brewery Square is a new development in the heart of the town, and is planned to include a multitude of retail outlets, residential units, bars, restaurants and various cultural facilities, plus the regeneration of Dorchester South station to make it the UK's first solar powered rail station.^[18] The Charles Street development, being built on the site of the former Charles Street car park, is the newest project in Dorchester, and will include 23 new shops, a 485-space underground car park, an hotel, affordable housing, new public toilets, a public library and adult education centre provided and paid for by Dorset County Council, and offices and separate parking occupied and paid for by West Dorset District Council. The Charles Street development is predicted to create 660 new jobs (not including jobs within the council).^[19]

There is a new leisure centre being built on Coburg Road to replace the old Thomas Hardye School Leisure Centre, costing over £8 million, and will consist of a new swimming pool and sports equipment.^[20]

Government[link]

Dorchester is represented by three tiers of government. Dorchester town council, West Dorset District Council and Dorset County Council, all of whom are based within the town. The Member of Parliament for West Dorset is Oliver Letwin.

The town's coat of arms depicts the old castle that used to stand where the prison now does. The royal purple background signifies Dorchester's status as part of the private estates of the king since before Domesday. The shield within the castle depicts lions, copied from the shields of Dorset men who fought at the Battle of Agincourt on 25 October 1415, and fleur-de-lys. The fleur-de-lys on the shield are scattered (or "semée") rather than the more traditional triangular arrangement. Doing so, shows that the town had the right to bear the arms of France before 1405, when they were altered by King Henry VI. Dorchester's seal is the only one in the UK to use the fleur-de-lys in this way. The inscription 'Sigillum Bailivorum Dorcestre' means 'The Seal of the Bailiffs of Dorchester'.

In 2011 Dorchester was one of more than 20 towns across the country to apply for city status to mark the Queen's diamond jubilee,^[21] although in March 2012 it was revealed that Dorchester's bid was unsuccessful.

Media[link]

Dorchester is served by two local radio stations: Wessex FM and BBC Radio Solent (BBC Dorset). The county hospital has its own station named 'Ridgeway Radio'. Local television news coverage is by South Today or Spotlight (BBC News). Dorchester's regular print media comprise Dorset Echo and a free weekly periodical.

Transport[link]

Dorchester South railway station

The town has two railway stations. Dorchester South railway station on the South Western Main Line to Bournemouth, Southampton and London is operated by South West Trains. Dorchester West railway station on the Heart of Wessex Line is operated by First Great Western and serves Yeovil, Bath and Bristol The building at Dorchester West railway station is the original building designed and built by Isambard Kingdom Brunel. As part of the regeneration project taking place at the Brewery Site in the town centre, Dorchester South railway station will become the first solar powered railway station in the UK.

A bypass road was completed in 1988 by construction company Mowlem to the south and west of the town, diverting through traffic using the A35 and A37 from the town.^[22]

Education[link]

Dorchester has one private school, several first schools, two middle schools and one upper school. The upper school, The Thomas Hardye School, can trace its origins back to 1569, when it was founded by a merchant of that name, not the writer Thomas Hardy as commonly believed. Nineteen schools in the Dorchester area form the Dorchester Area Schools Partnership (DASP).

Kingston Maurward College is a land-based studies college based on the outskirts of the town.

Culture[link]

Local author and poet Thomas Hardy based the fictional town of Casterbridge on Dorchester. Hardy's childhood home is to the east of the town, and his house in town, Max Gate, is owned by the National Trust and open to the public. William Barnes, the local dialect poet, was Rector of Winterborne Came, a small hamlet near Dorchester, for 24 years until his death in 1886,^[23] and ran a school in the town. Statues of both men stand in the town centre; Barnes is outside St Peter's Church and Hardy's beside the Top o' Town crossroads. Cecil Day Lewis is buried in Stinsford, one mile (1.6 km) from Dorchester. Hardy is buried in London, but his heart was removed and buried in Stinsford.

On the hills to the south west of the town, stands Hardy's Monument, a memorial to the other local Thomas Hardy, Sir Thomas Masterman Hardy, who served with Lord Nelson, which overlooks the town with views of Weymouth, the Isle of Portland and Chesil Beach. Tom Roberts, Australian painter, was born in Dorchester in 1856.

Dorchester Arts, a regularly funded arts organisation based in a former school building runs a seasonal programme of music, dance and theatre events in the town as well as a range of participatory arts projects for socially excluded groups and the biannual Dorchester Festival. In 2011, Dorchester Arts became an Arts Council 'National Portfolio organisation' with enhanced funding until 2015.

Museums in Dorchester include the Roman Town House, The Dinosaur Museum, the Terracotta Warriors Museum, the Dorset Teddy Bear Museum, The Keep Military Museum, Dorset County Museum. and the Tutankhamun Exhibition. All of these museums took part in the "Museums at Night" event in May 2011 where museums across the UK opened after hours.^[24]

On 15 December 2004, Dorchester was granted Fairtrade Town status.^{[citation needed]}

Twinned towns[link]

Dorchester is twinned with three European towns:^[25]

• Bayeux in France since 1959, came about because the Dorset Regiment were the first soldiers to enter the town in 1944 as the Second World War came to an end
• Lübbecke in Germany since 1973, largely down to the special relationship between the Durnovaria Silver Band who met the Lübbecker Schutzenmusik Corps at an event in Bayeux when Bayeux was twinning with Lübbecke in 1968
• Holbæk in Denmark since 1992, resulted from a shared interest in community plays.^{[citation needed]}

Notable people[link]

• James Campbell (born 1988), cricketer
• Thomas Hardy (1840-1928), writer, was born near Dorchester and later lived at Max Gate in the town. Two of his novels were directly based on Dorchester.
• Paul Hillier (born 1949), classical singer and composer was born in Dorchester. He attended the Thomas Hardye School.

Sport[link]

Dorchester is represented by many sports teams, the most prominent of whom are Dorchester Town F.C., a football team currently playing in the Conference South.

Harry Redknapp and former England players Graham Roberts and Martin Chivers represented 'The Magpies' during the late 1970s and early 1980s. The club have historically been based along Weymouth Avenue in the south of the town. Having previously played at the old Avenue Ground since their inception, the club moved to a new purpose built 5,000 capacity Avenue Stadium in the early 1990s - designed and owned by the Duchy of Cornwall. The site of the old Avenue ground is now a Tesco supermarket built at the same time as the Avenue stadium

Dorchester RFC are an amateur rugby union team who currently play in the Southern Counties South league.

Dorchester CC, are a cricket club, who play in the Dorset Premier League, being last crowned champions in 2009.

Aaron Cook, a taekwondo athlete who competed in the 2008 Olympic Games finishing in fifth place, was born in Dorchester.^[26]

References[link]

Bibliography[link]

• Bingham, A. (1987) Dorset : Ordnance Survey landranger guidebook , Norwich: Jarrold, ISBN 0-319-00187-3
• Chandler, J. H. (1990) Wessex images, Gloucester: Alan Sutton and Wiltshire County Council Library & Museum Service, ISBN 0-86299-739-9
• Draper, J. (1992) Dorchester : An illustrated history Wimborne: Dovecote Press, ISBN 1-874336-04-0
• Morris, J. and Draper, J. (1995) "The 'Enclosure' of Foridngton Fields and the Development of Dorchester, 1874–1903", Dorset Natural History and Archaeological Society proceedings, v. 117, p. 5–14, ISSN 0070-7112
• Pitt-Rivers, M. (1966) Dorset, A Shell guide, New ed., London: Faber, ISBN 0-571-06714-X
• Taylor, C. (1970) Dorset, Making of the English landscape, London: Hodder & Stoughton, p. 197–201, ISBN 0-340-10962-9
• Waymark, J, (1997) "The Duchy of Cornwall and the Expansion of Dorchester, c. 1900–1997", Dorset Natural History and Archaeological Society proceedings, v. 119, p. 19–32, ISSN 0070-7112

External links[link]

Wikimedia Commons has media related to: Dorchester, Dorset

• Census data
• Dorchester, Dorset at the Open Directory Project

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)

Ed Wynn
from the film Stage Door Canteen (1943)
Birth name	Isaiah Edwin Leopold
Born	(1886-11-09)November 9, 1886 Philadelphia, Pennsylvania, U.S.
Died	June 19, 1966(1966-06-19) (aged 79) Beverly Hills, California, U.S.
Medium	Vaudeville, Stand-Up
Nationality	American
Years active	1903–1966
Influenced	Red Skelton, Daws Butler, Kevin James, Ralph Garman
Spouse	Hilda Keenan (1914-37) (divorced) 1 child Frieda Mierse (1937-39) (divorced) Dorothy Elizabeth Nesbitt (1946-55) (divorced)

Ed Wynn (November 9, 1886 – June 19, 1966) was a popular American comedian and actor noted for his Perfect Fool comedy character, his pioneering radio show of the 1930s, and his later career as a dramatic actor.^[1]

Wynn began his career in vaudeville in 1903 ^[2][3] and was a star of the Ziegfeld Follies starting in 1914. During The Follies of 1915, W. C. Fields allegedly caught Wynn mugging for the audience under the table during his "Pool Room" routine and knocked him unconscious with his cue.^[4] Wynn wrote, directed, and produced many Broadway shows in the subsequent decades, and was known for his silly costumes and props as well as for the giggly, wavering voice he developed for the 1921 musical review, The Perfect Fool.

Early life[link]

Ed Wynn was a Jewish-American comedian who was born Isaiah Edwin Leopold in Philadelphia, Pennsylvania. His father, who manufactured and sold women's hats, was born in Bohemia-Czechoslovakia. His mother, of Romanian and Turkish ancestry, came from Istanbul, Turkey.^[5] Wynn attended Central High School in Philadelphia until age 15.^[6] He ran away from home in his teens, worked as a hat salesman and as a utility boy,^[6] and eventually adapted his middle name "Edwin" into his new stage name, "Ed Wynn", to save his family the embarrassment of having a lowly comedian as a relative.

Radio[link]

Although many gag writers later provided material for Wynn's performances in radio, television and movies, he was proud to boast that he had written every line he ever spoke during his early career as a stage performer.^{[citation needed]}

He hosted a popular radio show, The Fire Chief for most of the 1930s, heard in North America on Tuesday nights, sponsored by Texaco gasoline. Like many former vaudeville performers who turned to radio in the same decade, the stage-trained Wynn insisted on playing for a live studio audience, doing each program as an actual stage show, using visual bits to augment his written material, and in his case, wearing a colorful costume with a red fireman's helmet. He usually bounced his gags off announcer/straight man Graham McNamee; Wynn's customary opening, "Tonight, Graham, the show's gonna be different," became one of the most familiar tag-lines of its time; a sample joke: "Graham, my uncle just bought a new second-handed car... he calls it Baby! I don't know, it won't go anyplace without a rattle!"

Wynn reprised his Fire Chief radio character in two movies, Follow the Leader (1930) and The Chief (1933). Near the height of his radio fame (1933) he founded his own short-lived radio network the Amalgamated Broadcasting System, which lasted only five weeks, nearly destroying the comedian. According to radio historian Elizabeth McLeod, the failed venture left Wynn deep in debt, divorced and finally, suffering a nervous breakdown.^{[citation needed]}

Wynn was offered the title role in MGM's 1939 screen adaptation of The Wizard of Oz, but turned it down, as did his Ziegfeld contemporary W. C. Fields. The part went to Frank Morgan.

Television[link]

In the 1949-50 season, Ed Wynn hosted one of the first comedy-variety television shows, on CBS, and won an Emmy Award in 1949. Buster Keaton, Lucille Ball, and The Three Stooges all made guest appearances with Wynn. This was the first CBS variety television show to originate in Los Angeles, with programs filmed via kinescope for distribution in the Midwest and East. Wynn was also a rotating host of NBC's Four Star Revue from 1950 through 1952.

After the end of Wynn's third television series, The Ed Wynn Show (a short-lived situation comedy on NBC's 1948-49 schedule), his son, actor Keenan Wynn, encouraged him to make the career change rather than retire. The comedian reluctantly began a career as a dramatic actor in television and movies. Father and son appeared in three productions, the first of which was the 1956 Playhouse 90 broadcast of Rod Serling's play Requiem for a Heavyweight. Ed was terrified of straight acting and kept goofing his lines in rehearsal. When the producers wanted to fire him, star Jack Palance said he would quit if they fired Ed. (However, unbeknownst to Wynn, supporting player Ned Glass was his secret understudy in case something did happen before air time.) On live broadcast night, Wynn surprised everyone with his pitch-perfect performance, and his quick ad libs to cover his mistakes. A dramatization of what happened during the production was later staged as an April 1960 Westinghouse Desilu Playhouse episode, "The Man In the Funny Suit", starring both senior and junior Wynns, with key figures involved in the original production also portraying themselves. Ed and his son also worked together in the Jose Ferrer film The Great Man, with Ed again proving his unexpected skills in drama.

Wynn (left) and Richard Crenna (right) in People's Magazine 1964

Requiem established Wynn as serious dramatic actor who could easily hold his own with the best. His role in The Diary of Anne Frank (1959) won him an Academy Award nomination for Best Supporting Actor.

Also in 1959, Wynn appeared on Serling's TV series The Twilight Zone in "One for the Angels". Serling, a longtime admirer, had written that episode especially for him, and Wynn later starred in the episode "Ninety Years Without Slumbering". For the rest of his life, Ed skillfully moved between comic and dramatic roles. He appeared in feature films and anthology television, endearing himself to new generations of fans.

Cartoons[link]

Wynn had been caricatured in 1933 in the Merrie Melodies cartoon short Shuffle Off to Buffalo, and as a pot of jam in the 1934 Betty Boop short Betty in Blunderland.

Films[link]

He appeared as the Fairy Godfather in Jerry Lewis' Cinderfella. His performance as Paul Beaseley in the 1958 film The Great Man earned him nominations for a "Best Supporting Actor" Golden Globe Award and a "Best Foreign Actor" BAFTA Award. The following year saw him receive his first (and only) nomination for an Academy Award for Best Supporting Actor for his role as Mr. Dussell in The Diary of Anne Frank (1959). Six years later he would also appear in the epic motion picture masterpiece The Greatest Story Ever Told.

Work with Disney[link]

Wynn provided the voice of the Mad Hatter in Walt Disney's film, Alice in Wonderland, but many baby boomer children remember him most fondly for his brief appearances as The Toymaker alongside Mouseketeer Annette Funicello and Tommy Sands in Walt Disney's Babes in Toyland released in 1961.

Possibly his best-remembered film appearance, though, was as Uncle Albert in Walt Disney's Mary Poppins (1964). His segment involved the eccentric man floating around just beneath the ceiling in uncontrollable mirth, singing "I Love to Laugh" and was one of the film's highlights.

Re-teaming with the Disney team the following year, in That Darn Cat! (1965) featuring Dean Jones, Wynn filled out the character of Mr. Hofstedder, the watch jeweler with his bumbling charm. His final performance, as Rufus in Walt Disney's The Gnome-Mobile was released a few months after his death.

In addition to Disney films, Wynn was also a popular character in the Disneyland production The Golden Horseshoe Review.

Death[link]

Wynn died June 19, 1966 in Beverly Hills, California of throat cancer,^[6] aged 79. He was interred at Forest Lawn Memorial Park in Glendale, and his gravestone reads "Dear God, Thanks... Ed Wynn".

Legacy[link]

The distinctive voice which Wynn created for his "Perfect Fool" character has remained much imitated. Hanna-Barbera's Wally Gator's voice, performed by Daws Butler, was an impersonation of the Perfect Fool, as was Paul Frees's Captain Peter Peachfuzz character in The Rocky and Bullwinkle Show. Other notable characters inspired by Wynn include: Terrytoons' Gandy Goose, Doctor Blinky in H.R. Pufnstuf, Mayor McCheese in commercials for "McDonaldland", and Multo in the PBS animated series Zula Patrol. He is frequently imitated by Ralph Garman of the "Hollywood Babble-On" podcast on Kevin Smith's SModcast network.

Quotations[link]

• "A comic says funny things. A comedian says things funny."
• "Life, liberty, and the pursuit of happiness? Heck, I'll take that and more!"
• "Life is for the living!"

Broadway and films[link]

• The Deacon and the Lady (1910) - musical - actor/performer
• Ziegfeld Follies of 1914 (1914) - revue - actor/performer
• Ziegfeld Follies of 1915 (1915) - revue - actor/performer
• The Passing Show of 1916 (1916) - revue - actor/performer
• Sometime (1918) - play - actor
• Ed Wynn's Carnival (1920) - revue - composer, lyricist, book-writer and performer/actor
• The All-Star Idlers of 1921 (1921) - revue - actor/performer
• The Perfect Fool (1921) - revue - composer, lyricist, book-writer, director and actor/performer
• The Grab Bag (1924) - revue - producer, composer, lyricist, book-writer and actor/performer
• Manhattan Mary (1927) - musical - actor in the role of "Crickets"
• Simple Simon (1930) - musical - co-book-writer and actor
  • Revived in 1931 (was also producer in addition to above roles)
• The Laugh Parade (1931) - revue - producer, co-book-writer, director, originator and star actor/performer
• The Chief (1933) - actor (as Henry Summers)
• Alice Takat (1936) - play - producer
• Hooray for What! (1937) - musical - actor in the role of "Chuckles"
• Morose Thoughts (1941) - revue - producer, book co-author, and actor
• Boys and Girls Together (1940) - revue - producer, co-book-writer, originator, director and actor/performer
• Laugh, Town, Laugh! (1942) - revue - producer, book-writer and director
• Stage Door Canteen (1943) - as himself
• Alice in Wonderland (1951) - voice actor (as Mad Hatter)
• Marjorie Morningstar (1958) - actor (as uncle Samson)
• The Diary of Anne Frank (1959) - actor (as Fritz Pfeffer)
• Cinderfella (1960) - actor (as the fairy godfather)
• Babes in Toyland (1961) - actor (as The Toy Maker)
• The Absent-Minded Professor (1961 film) - actor (as Fire Chief)
• Son of Flubber (1963 film) - actor (as Dept. of Agriculture agent)
• Mary Poppins (1964) - actor (as Uncle Albert)
• The Greatest Story Ever Told (1965 film) - actor (as Old Aram)
• That Darn Cat! (1965) - actor (as Mr. Hofstedder)
• Those Calloways (1965) - actor (as Ed Parker)
• The Daydreamer (film) (1966) - voice actor (as The Emperor)
• The Gnome-Mobile (1967) - actor (as Rufus) - released after his death

Listen to[link]

• Radio Journeys: Texaco Fire Chief (July 26, 1932)

Those Calloways (1965)

References[link]

External links[link]

Wikimedia Commons has media related to: Ed Wynn

Biography portal

• Ed Wynn on Great Character Actors site
• Ed Wynn at the Internet Movie Database
• Ed Wynn at the Internet Broadway Database
• Ed Wynn at Find a Grave
• The Ed Wynn Show at Classic TV Info.
• Four Star Revue/All Star Revue at Classic TV Info.