George Walker

Bert Williams - Good Morning Carrie (+ George Walker) 11-10-1901

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Duration: 1:23
Updated: 02 Aug 2015
views: 50

please note, I do not own any of these records. Please view part of my collection at http://www.youtube.com/user/djoutrage18/videos if you do own these records and want me to take them down just ask! rgodridge1@gmail.com -uploaded in HD at http://www.TunesToTube.com

wn.com/Bert Williams Good Morning Carrie ( George Walker) 11 10 1901

Bert Williams & George Walker - Good Morning Carrie, 1902

Order: Reorder
Duration: 2:17
Updated: 20 Jan 2015
views: 1218

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. --------------------------------------------------------------------------------

wn.com/Bert Williams George Walker Good Morning Carrie, 1902

Bert Williams And George Walker - Good Morning Carrie, 1902

Order: Reorder
Duration: 2:17
Updated: 20 Jan 2015
views: 71

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. --------------------------------------------------------------------------------

wn.com/Bert Williams And George Walker Good Morning Carrie, 1902

The Vaudeville Project - creative development

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Duration: 2:39
Updated: 22 Jul 2015
views: 80

A deeply personal work about identity, destiny and coming to peace with the ghosts of the past, Vaudeville Project is inspired by the life of Adelaide actor Rory Walker’s great grandfather George W Walker, a vaudevillian performer, vocalist and impresario of the early 20th Century. An episodic series of sketches – songs, dances, comedy routines, trained animal acts, impersonations, magic, acrobatics, juggling, athletics, movies – all performed by one man and his musical sidekick in a heterogeneous wonderment of splendour that will educate, edify, amaze and uplift! Devised by Brink Productions Starring Rory Walker Directed by Chris Drummond Creative Consultants: Rory Walker, Paul Blackwell, Adam Page, Eliza Lovell, Michael Morley, Jonathon Oxlade, Alan Brough documentation by Heath Britton

wn.com/The Vaudeville Project Creative Development

Queen of the Cake Walk

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Duration: 5:50
Updated: 14 May 2015
views: 784

A tribute to Aida Overton Walker, Queen of the Cakewalk The following is a short film celebrating the life of Aida Overton Walker, an unsung pioneer in vaudeville and Black musical theater who paved the way for us. Because of her efforts we are able to perform on integrated stages and in front of multicultural audiences. With this project we hope to shine a spotlight on Black performers who have been left in the dark. Please watch, share, like and comment! Featuring: Madelynn Poulson as Aida Overton Walker DeAndre' Hicks as George Walker Donavon Harbison as Bert Williams Script, Voice Over, and Choreography By: Madelynn Poulson Filming and Editing By: Candace Sinclaire Frazier (@Delafro)

wn.com/Queen Of The Cake Walk

THE GHOST OF BERT WILLIAMS LIKES THE NEW SAN PEDRO THEATRE CLUB

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Duration: 8:36
Updated: 29 Jul 2013
views: 78

MR "BERT WILLIAMS" 1924: Legendary San Pedro High School alumnus, Egbert Austin "Bert" Williams, the pre-eminent pioneer black comedian honored by contemporaries of all races, dies in New York from pneumonia; Williams was America's 1st black superstar and possibly America's greatest vaudevillian performer (though disfavored as politically incorrect by activists in the because he performed in blackface); W.C. Fields called him "the funniest man I ever saw—and the saddest man I ever knew"; Williams was the former partner of George Walker (the Williams & Walker vaudeville act started in 1893 and were headliners from 1896-1909, when Walker had to retire due to illness); Williams was the 1st black American lead on Broadway and he co-authored "Shuffle Along" (the all-black Broadway musical comedy); Williams also headlined in the Ziegfeld Follies and performed with Eddie Cantor and George M. Cohen; many of his comedy and musical recordings are available for listening or download from the Internet Archives.

wn.com/The Ghost Of Bert Williams Likes The New San Pedro Theatre Club

Bert Williams and George Walker Final Presentation

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Duration: 3:29
Updated: 24 Jul 2013
views: 2628

wn.com/Bert Williams And George Walker Final Presentation

James Last & George Walker - There's A Kind Of Hush

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Duration: 2:54
Updated: 12 Jan 2015
views: 575

Track 1 from the 1967 album James Last Presents George Walker. Vinyl transfer @ 256kbps.

wn.com/James Last George Walker There's A Kind Of Hush

Bert Williams - All Going Out And Nothing Coming In

Order: Reorder
Duration: 2:49
Updated: 20 Jan 2015
views: 31

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. -------------------------------------------------------------------------------- ,

wn.com/Bert Williams All Going Out And Nothing Coming In

Bert Williams - I'll Lend You Anything But My Wife

Order: Reorder
Duration: 2:45
Updated: 20 Jan 2015
views: 21

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. --------------------------------------------------------------------------------

wn.com/Bert Williams I'll Lend You Anything But My Wife

Bert Williams - Borrow From Me

Order: Reorder
Duration: 3:20
Updated: 20 Jan 2015
views: 16

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. --------------------------------------------------------------------------------

wn.com/Bert Williams Borrow From Me

Bert Williams I'll Lend You Anything But My Wife xvid

Order: Reorder
Duration: 2:45
Updated: 20 Jan 2015
views: 48

Bert Williams (November 12, 1874 – March 4, 1922) was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world." Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw and the saddest man I ever knew." Contrary to occasional assertions that Antigua was Bert Williams' place of birth, the case for The Bahamas is now accepted by most scholars and biographers as irrefutable. The record is clear that Bert was born in Nassau, Bahamas on November 12, 1874 to Frederick Williams Jr. and his wife Julia (née Moncur), both of them natives of The Bahamas as well. This is verified by the Register of Births for St. Matthews Parish, Nassau, Bahamas (ref. entry # 24) showing November 12, 1874 at Nassau as the date and place of birth. Bert's Bahamian origins are also confirmed by the (1920) 14th Census of the United States in which the "actor" Bert Williams working in the "theatre", a resident of New York City, is described as a native of The Bahamas along with his mother, Julia Williams who was listed as living at the time of the Census with Bert and his wife, Lottie née Thompson. Williams became one of Vaudeville's top solo artists, but he first gained notice as half of the successful double-act "Williams & Walker." He and George Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business. A New York Times reviewer wrote, He holds a face for minutes at a time, seemingly, and when he alters it, brings a laugh by the least movement. In 1899 Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow 8 years Bert's senior and a homebody, thus the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes. Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten. --------------------------------------------------------------------------------

wn.com/Bert Williams I'll Lend You Anything But My Wife Xvid

Williams & Walker "The Lost Recording" - Good Afternoon Mr. Jenkins - 1901 Victor Monarch Record

Order: Reorder
Duration: 3:08
Updated: 27 May 2009
views: 9646

You are about to hear one of the "Lost" original recordings of George W. Walker with Bert Williams from their earliest recording session for Victor in Oct. of 1901, singing "Good Afternoon, Mr. Jenkins" (composed by R.C. McPherson & Thomas Lemonier) from the Play/comedy "Sons of Ham". According to the folks at Archeophone Records, no copies of this recording, at the time of their Historic CD release of the "Bert Williams The Early Years, had yet been found". So here for your enjoyment is that historic lost recording, being played here on Youtube. Williams & Walker were one of the first successful African American Comedy duos in the history of the American Theatre, starring in the first Black Produced Musical Comedies at the turn of the last Century. Walker died in 1911, and Williams went on to be one of the most beloved and popular Stars of the Ziegfeld Follies over the next 11 years until his death in 1922. Williams also made many records for Columbia during that time period.Since the lyrics might be a little difficult to make out I have posted them on the screen and you will see them as the record plays, and also here below.. Verse: In upper Broadway where the swells all Congregate, A dusky Dick-to-do went strolling, and met his fate, A Saffron Colored lady with a witching smile, Did this high-toned darkey swell be-guile, He Wined and dined her on the best at Ca-fe Grand, Spent his hard earn'd money with a lavish hand, "Now may I see you home? Said He, I'm sorry Sir it can-not be, for Ma is waiting there for me, So -- Chorus: "Good Afternoon, Mr. Jenkins, ah'll See you again, It ain't no earthly use____ for to remain, 'Cause I've enjoyed your Company it's no reason why That I should risk my home for you, So good afternoon, Good bye." Bye__

wn.com/Williams Walker The Lost Recording Good Afternoon Mr. Jenkins 1901 Victor Monarch Record

Black Broadway, Stewart F. Lane (Part 1)

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Duration: 9:54
Updated: 18 Apr 2015
views: 25

“Black Broadway is a wonderful book. . . . lushly illustrated with oversized historic photographs . . . genius . . .” As a follow up to his books on American theater history, Let’s Put on a Show! and Jews on Broadway, Stewart F. Lane—himself a six-time Tony Award winner as producer for La Cage Aux Follies, Will Rogers Follies, and Thoroughly Modern Millie, among others—has written a new volume celebrating theatrical talents that have, for far too long, been relegated to the sidelines. In Black Broadway: African Americans on the Great White Way, Lane focuses his admirably researched and beautifully illustrated theatrical history both on the specific Broadway shows and on the great theatrical talents that best define the contributions that black performers and authors have made to the American theater. What makes Black Broadway so special is that it introduces the reader to so many talented people—as well as so many who, like James Bland, our nation’s first black composer of popular music—blazed the trail for others to follow. Thus, in these pages, as we travel through history from minstrel shows to vaudeville and burlesque to the modern Broadway stage, we meet luminaries like Bert Williams, who began in a comedic duo partnered with George Walker on the Vaudeville stage, to go on to break down racial barriers by becoming a part of the prestigious Ziegfeld Follies and later, by becoming the first black comic to appear in any Hollywood movie. At the time of Bert Williams’s death, no less than Booker T. Washington wrote, “Bert Williams has done more for the race than I have. He has smiled his way into people’s hearts.” Make no mistake about it, Black Broadway is as much a political history as it is an artistic one, with its spotlighting specific Broadway productions, from Orson Welles’s “Voodoo Macbeth” to Deep Are Our Roots, a tale of interracial love that was produced during Broadway’s 1945 season, to something that seems much less revolutionary today than it did back in 1967, the smash-hit revival of Hello, Dolly starring Pearl Bailey leading an African-Americans. These, along with so many others presented in the pages of Black Broadway, stand as benchmarks, not only in the history of black American performers, but also of American culture itself. The list of African American performers, producers, and writers whose work is celebrated in the pages of Black Broadway is long and diverse. And it is a joy to see that, with each succeeding chapter, the list of names of Broadway performers is longer and longer. Black Broadway is a wonderful book. It’s coffee table proportions allow it to be lushly illustrated with oversized historic photographs and its heft indicates just how much history it contains, how many tales of the men and women who brought their genius to the center of the Broadway stage that the author, Stewart F. Lane, has to offer. Stewart F. Lane (born 1951) is a six-time Tony Award winning Broadway producer with two shows currently on Broadway: Priscilla Queen of the Desert andWar Horse. He also has a DVD out now based on his critically acclaimed book, Let's Put on a Show![1] and a new book called "Jews of Broadway" He has also produced in Dublin and London (Olivier nominated twice). In addition to publishing two plays, he has directed across the country, working with Stephen Baldwin, Shannon Doherty, Chazz Palminteri, and more. He is co-owner of the Palace Theatre (Broadway) with the Nederlander Organization and a partner in the Tribeca Grill with Robert De Niro. Having been an actor, Mr. Lane has begun public speaking about his theatrical ventures.

wn.com/Black Broadway, Stewart F. Lane (Part 1)

Black Broadway, Stewart F. Lane (Part 2)

Order: Reorder
Duration: 13:10
Updated: 18 Apr 2015
views: 15

“Black Broadway is a wonderful book. . . . lushly illustrated with oversized historic photographs . . . genius . . .” As a follow up to his books on American theater history, Let’s Put on a Show! and Jews on Broadway, Stewart F. Lane—himself a six-time Tony Award winner as producer for La Cage Aux Follies, Will Rogers Follies, and Thoroughly Modern Millie, among others—has written a new volume celebrating theatrical talents that have, for far too long, been relegated to the sidelines. In Black Broadway: African Americans on the Great White Way, Lane focuses his admirably researched and beautifully illustrated theatrical history both on the specific Broadway shows and on the great theatrical talents that best define the contributions that black performers and authors have made to the American theater. What makes Black Broadway so special is that it introduces the reader to so many talented people—as well as so many who, like James Bland, our nation’s first black composer of popular music—blazed the trail for others to follow. Thus, in these pages, as we travel through history from minstrel shows to vaudeville and burlesque to the modern Broadway stage, we meet luminaries like Bert Williams, who began in a comedic duo partnered with George Walker on the Vaudeville stage, to go on to break down racial barriers by becoming a part of the prestigious Ziegfeld Follies and later, by becoming the first black comic to appear in any Hollywood movie. At the time of Bert Williams’s death, no less than Booker T. Washington wrote, “Bert Williams has done more for the race than I have. He has smiled his way into people’s hearts.” Make no mistake about it, Black Broadway is as much a political history as it is an artistic one, with its spotlighting specific Broadway productions, from Orson Welles’s “Voodoo Macbeth” to Deep Are Our Roots, a tale of interracial love that was produced during Broadway’s 1945 season, to something that seems much less revolutionary today than it did back in 1967, the smash-hit revival of Hello, Dolly starring Pearl Bailey leading an African-Americans. These, along with so many others presented in the pages of Black Broadway, stand as benchmarks, not only in the history of black American performers, but also of American culture itself. The list of African American performers, producers, and writers whose work is celebrated in the pages of Black Broadway is long and diverse. And it is a joy to see that, with each succeeding chapter, the list of names of Broadway performers is longer and longer. Black Broadway is a wonderful book. It’s coffee table proportions allow it to be lushly illustrated with oversized historic photographs and its heft indicates just how much history it contains, how many tales of the men and women who brought their genius to the center of the Broadway stage that the author, Stewart F. Lane, has to offer. Stewart F. Lane (born 1951) is a six-time Tony Award winning Broadway producer with two shows currently on Broadway: Priscilla Queen of the Desert andWar Horse. He also has a DVD out now based on his critically acclaimed book, Let's Put on a Show![1] and a new book called "Jews of Broadway" He has also produced in Dublin and London (Olivier nominated twice). In addition to publishing two plays, he has directed across the country, working with Stephen Baldwin, Shannon Doherty, Chazz Palminteri, and more. He is co-owner of the Palace Theatre (Broadway) with the Nederlander Organization and a partner in the Tribeca Grill with Robert De Niro. Having been an actor, Mr. Lane has begun public speaking about his theatrical ventures.

wn.com/Black Broadway, Stewart F. Lane (Part 2)

Dan W. Quinn sings "I Want To Be An Actor Lady" Williams and Walker Broadway show In Dahomey

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Duration: 3:10
Updated: 11 Dec 2014
views: 274

Dan W. Quinn sings "I Want To Be An Actor Lady" on Victor 1471 (July 11, 1902). This song also goes by the title "I Wants To Be An Actor Lady" (with an "s" on the verb), but Dan W. Quinn clearly announces it as "I Want To Be An Actor Lady" on this Victor disc, and the label of the record has no "s" on the verb. The comic song "I Wants to Be (A Actor Lady)" was written by Harry von Tilzer and Vincent Bryan. It was sung by Aida Overton Walker (wife of George Walker) in the Williams and Walker Broadway show In Dahomey. The song was an interpolation instead of an original number in the show. Crazy for the stage was Carrie Brown, She work'd in a dry-goods store uptown. Ev'rytime a play opened on Broadway,; In the gal'ry Carrie could be found. Carrie could recite the maiden's prayer; She could sing most any ragtime air. Each day just after lunch She would entertain the bunch, And when they'd all applaud her she'd declare: I wants to be a actor lady, Star in the play, Up on Broadway, Spotlight for me, no back-row shady. I'm the real thing, I dance and sing. Miss Carter she may play "Du Barry," But she can't sing "Good Morning, Carrie." I wants to be a actor lady, too, Indeed I do! Carrie said that Shakespeare was a shine, Clyde Fitch may be good, but not for mine. There is Laura Jean Libby, she's a queen; If she wrote a play I'd act it fine. "Ha! the child's in London," then you say; Them's the kind of parts I wants to play. "Troskeena Wellington, you can't square what you have done!" With lines like these I'd knock them on Broadway. Dan W. Quinn was born in San Francisco, perhaps in 1859 since Jim Walsh reports in the December 1961 issue of Hobbies that Quinn was 79 years old when he died. He was occasionally identified as a baritone but most often as a tenor. Quinn was a boy soprano in an Episcopal choir and was evidently a vaudeville performer when he was a young man. His photograph is on the cover of sheet music of the 1890s. He recounted how he began recording in a letter sent to Walsh, who quotes it at length in "Reminiscences of Dan W. Quinn," published in the July 1934 issue of Music Lovers' Guide. Quinn explained why he was among the most successful recording artists of the 1890s: "It was while working for Vic Emerson [a Columbia executive in the 1890s] that I began to work like a good fellow and went after all the latest songs. I learned everything, whether it naturally suited my style or not. The good singers--I mean fellows like John W. Myers and George Gaskins [sic]--were slow getting up their stuff, and I, being a sight reader, just couldn't keep from learning every new number." Quinn recorded regularly from 1892 to 1905. He made recordings for the Phonograph Record and Supply Company ("Laboratory, 97, 99 & 101 Reade Street, New York"). Columbia's November 1896 catalog, which lists over 60 Quinn titles, states, "Mr. Quinn's reputation as a vocalist is so well established that the mere announcement of his name is a guarantee of the record." He was one of Berliner's most important artists, recording nearly a hundred titles. The only singer to cover more titles for the disc company was tenor George J. Gaskin. Perhaps the earliest Quinn discs to be issued were "Girl Wanted" (935), recorded on November 3, 1895, and "Henrietta, Have Your Met Her?" (151), also recorded in November 1895. An April 1899 catalog issued by the National Gram-o-phone Company, maker of Berliner discs, identifies Quinn as "The King of Comic Singers." In contrast to singers who recorded standards, Quinn as a Berliner artist covered new songs, nearly all of them quickly forgotten, few being recorded by other artists. He estimated cutting some 2,500 titles during his more than 20 years of recording experience. He listed for Walsh some companies that issued his records: "During my active days I recorded for practically all American companies: Edison, Victor, Columbia, United States, New Jersey, Chicago, Ohio, Boston, Gramophone, Gennett, Leeds-Catlin, and a number of others." Quinn usually worked as a solo artist. During most of his recording career, Quinn was a free-lance artist, singing for practically all American companies. He made a few records in 1906 and then retired for a time (Gaskin likewise stopped recording around 1905, returning a decade later). This hiatus began just before the advent of double-faced discs. He continued to perform in vaudeville and operated a theatrical booking agency almost to the day of his death. In "Reminiscences of Dan W. Quinn," Walsh gives the address as 312 West 20th Street, New York City. Though nearly 60, he attempted in 1915 a recording comeback, beginning with a Columbia session on September 23, 1915. The singer died on November 7, 1938, of intestinal cancer in his home at 312 West 20th Street, New York City.

wn.com/Dan W. Quinn Sings I Want To Be An Actor Lady Williams And Walker Broadway Show In Dahomey

Murder He Says

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Duration: 3:14
Updated: 02 Nov 2011
views: 8975

The 'crazylegs' scene from the delightful 1945 comedy, "Murder He Says." Starring Fred MacMurray, Helen Walker, Porter Hall and Peter Whitney. Directed by George Marshall.

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1901 Williams And Walker Victor Monarch Record Played On Victor Model 'D' Phonograph

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Duration: 4:45
Updated: 06 May 2009
views: 5167

This is a very rare1901 Victor Monarch recording by the early black comic team of Bert Williams and George Walker. Recorded on October 11, 1901, this recording would represent the very first of a precious few recordings that Bert Williams and George Walker would record together. Sales of their Victor Monarch records was very poor indeed and few survive today. But this recording would launch a long and very successful recording career for Bert WIlliams. Sadly though, his partner George Walker would die in 1911 at a very young age. The recording is...what it is...crazy, amateurish and a bit difficult to understand...but I just love it and hope that you do too. By the way, at the very end of the recording we can hear what I believe is George Walker saying, "Are we done?".

wn.com/1901 Williams And Walker Victor Monarch Record Played On Victor Model 'D' Phonograph

Lakewood Playhouse presents "Once in a Lifetime" through June 21

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Duration: 5:35
Updated: 09 Jun 2009
views: 1842

ONCE IN A LIFETIME by George S. Kaufman & Moss Hart and directed by Marcus Walker is the rollicking comedy of three down-and-out vaudeville performers who decide to head for Hollywood and try their luck with the newly invented talkies. Due to a series of consistent blunders, the most stupid of the three is carried to pinnacles of fame and fortune until he's literally made a god of the industry. It's a fast-paced, wild comic romp and a marvelous spoof of tinsel town. Visit www.lakewoodplayhouse.org for tickets and details or call 253.588.0042.

wn.com/Lakewood Playhouse Presents Once In A Lifetime Through June 21

Ketèlbey conducts his "In a Monastery Garden"

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Duration: 6:05
Updated: 02 Oct 2012
views: 5851

Recorded in 1927. Albert W. Ketèlbey's Concert Orchestra Nellie Walker, contralto Full screen on 480 looks pretty good. Thanks to Rolf for allowing me to use his excellent transfers. You can find this and many other wonderful selections and information at his website: http://satyr78lp.blogspot.com IN A MONASTERY GARDEN (Albert W. Ketelbey - 1915) Through the misty twilight falling Voices from afar are calling Calling all the weary Homeward to their rest (The evening bell is softly peeling While from off the cloisters stealing A sweet prayer of mercy Peaceful and so blessed I wandered alone in a strange land And the night seemed so dark and drear When the sound of a voice seemed to call me And brought to my mind a memory dear It told of the joy and the gladness That comes from the one above Oh Lord, hear our prayers, take away all our care And fill our hearts with love) Joy will come again with morning Travels fast, a cloud is forming God is love and gives us All eternal rest (Transcribed by Mel Priddle - January 2004) Albert William Ketèlbey (9 August 1875 -- 26 November 1959), born Ketelbey, was an English composer, conductor and pianist. Ketèlbey was born in Alma Street in the Lozells area of Birmingham, England, the son of an engraver, George Henry Ketelbey (written with no accent), and Sarah Ann Aston.[1] At the age of eleven he wrote a piano sonata that won praise from Edward Elgar. Ketèlbey gained a scholarship to the Trinity College of Music[2] in London, where he showed his talent for playing various orchestral instruments reflected in the masterfully colourful orchestration, especially of oriental inspiration, that became his trademark. At Trinity he beat Gustav Holst in competition for a musical scholarship. He used the pseudonyms Raoul Clifford and Anton Vodorinski for some of his works[3] (some reference books mistakenly give Vodorinski as his true name and Ketèlbey as the pseudonym). His name is frequently misspelt Ketelby. Ketèlbey held a number of positions, including organist at St John's, Wimbledon, before being appointed musical director of London's Vaudeville Theatre, where he met his future wife Charlotte (Lottie) Siegenberg.[4] Whilst at the Vaudeville he continued writing diverse vocal and instrumental music. Later, he became famous for composing lightweight, popular music, much of which was used as accompaniments to silent films, and as mood music at tea dances. Success enabled him to relinquish his London appointments. Once, whilst conducting a programme of his own music at a Royal Command Performance, Ketèlbey gave a second rendering of the State Procession movement of his Cockney Suite during the interval, at the request of King George V, who had arrived too late to hear it performed at the beginning of the programme. He was active in several other fields including being music editor to some well-known publishing houses and for more than twenty years from 1906, served Musical Director of the Columbia Graphophone Company, where over 600 recordings were issued with him conducting the Court Symphony Orchestra, the Silver Stars Band, and other ensembles.[5] Although not proven, he is frequently quoted as becoming Britain's first millionaire composer. In 1929, he was proclaimed in the "Performing Right Gazette" as "Britain's greatest living composer", on the basis of the number of performances of his works. Ketèlbey had a long and happy marriage to an actress and singer, Charlotte Siegenberg (1871--1947). After her death he married Mabel Maud Pritchett. There were no children by either marriage. He died at his home, Rookstone, Egypt Hill in Cowes, where he had moved in order to concentrate on writing and his hobby of playing billiards. His work fell out of favour after the Second World War and at the time of his death he had slipped into obscurity, with only a handful of mourners at his funeral, held at Golders Green crematorium .[6] Ketèlbey's music is frequently heard on radio. In a 2003 poll by the BBC radio programme Your Hundred Best Tunes, "Bells across the Meadows" was voted thirty-sixth most popular tune of all time.

wn.com/Ketèlbey Conducts His In A Monastery Garden

W.C. Fields in "Home Movie" - 1928

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Duration: 1:51
Updated: 22 May 2012
views: 18573

W.C. Fields at the home he rented in 1928 while appearing in Earl Carroll's Vanities, 7th Edition. The house shown in the film at 15 Dunster Road, Great Neck, New York on Long Island looks much the same today as it did in 1928. You can see the Google image here: http://tinyurl.com/6ns6fnh Confirmation that W.C. Fields rented the house at the time can be found in the booklet, "Russell Gardens Golden Anniversary: 1931-1981," a PDF of which can be obtained here: http://tinyurl.com/6p3qm7t (It might take a minute to download.) There is also in the booklet an illustration of the bridge W.C. Fields walks over, "Scene in the Russell Gardens Woodland Park." A tip of the hat to Brent Walker for the sleuthing that brought this information to light. Film by George Mann of the comedy dance team, Barto and Mann. There's more about George Mann in vaudeville here: http://en.wikipedia.org/wiki/Barto_and_Mann His photography here: http://www.akg-images.co.uk/_customer/london/mailout/1004/georgemann/ And later in life here: http://onbunkerhill.org/georgemann And a Three Stooges clip, in color, taken by George Mann in 1938 here: http://www.youtube.com/watch?v=YbN9nwrAbFs

wn.com/W.C. Fields In Home Movie 1928

Marrage in Hollywood with a oh my DAMN sexy model

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Duration: 0:58
Updated: 18 May 2011
views: 3060

Follow our Blog of ALL our videos and stay up to date at http://knockoutnetworks.blogspot.com/ Sexy Model gives Quotes Baylee Curran's Quote of the day "In Hollywood, brides keep the bouquets and throw away the groom". Groucho Marx Julius Henry "Groucho" Marx (October 2, 1890[1] -- August 19, 1977) was an American comedian and film star famed as a master of wit. His rapid-fire delivery of innuendo-laden patter earned him many admirers.He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life.[2] His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigars, and a thick greasepaint mustache and eyebrows. Follow on Twitter- Baylee Curran- @bayleecurran -Model All Pages- @pudersknockouts -model George Walker @rawstarr -Marketing/promotions Producer: Baylee Curan Marketing by George Rawstarr Walker in association with Rawstarr Communications rawstarrcommunications.com Editor: David Medill

wn.com/Marrage In Hollywood With A Oh My Damn Sexy Model