#vaudeville comedian

[silentdivasblog]

Lady of The Day 🌹 Fanny Brice ❤️

[queenie435]

FIRST SUCCESSFUL FEMALE STANDUP COMEDIAN

Loretta Mary Aiken (March 19, 1897 – May 23, 1975), known by her stage name Jackie "Moms" Mabley, was the first successful female standup comedian and had a career that spanned over 50 years. Moms bridged the gap between vaudeville and modern stand up comedy. She was also the first woman comic to be feature at the Apollo theater and Carnegie Hall in 1962.

Moms Mabley was born Loretta Mary Aiken in Brevard, North Carolina, to a large family. She experienced a horrifying, traumatic childhood. Her firefighter father was killed in an explosion when she was 11 and her mother was later hit and killed by a truck on Christmas Day. By the time she was fifteen she had borne two children resulting from sexual assaults: the first by a neighbour when she was twelve, and the second, two years later by a local sheriff. Her stepfather, who had remained her guardian, gave both children up for adoption and then forced Moms to marry a much older man who she despised.

Aiken left home at the age of 14 and pursued a show business career, joining the African-American vaudeville circuit(aka Chitlin' Circuit)as a comedian under the Theatre Owners Booking Association, Fellow performer Jack Mabley became her boyfriend for a short time, and she took on his name, becoming Jackie Mabley, with "Moms" coming from her eventual reputation as a mentoring, mothering spirit.

Moms saw an opportunity to try out her own voice, and discovered that she was a natural at singing, dancing and telling a joke. Especially telling a joke. She realized she had something that many of her contemporaries didn’t - original material. Since her sheltered life had hampered any introduction to current comedy routines, Moms inevitably began to craft authentic pieces based on her own experiences, much of it based on Granny’s pearls of wisdom.

Moms talked to her audience as if they were her children. She delivered superbly solemn routines, original in their time yet amazingly, never bettered. As soon as Moms delivered her opening line “I 'gots' something to tell you...” she immediately captured the attention of everyone in the room - and those rooms were full for over fifty years.

By the early 1920s she had begun to work with the duo Butterbeans & Susie, and eventually became an attraction at the Cotton Club. Mabley entered the world of film and stage as well, working with writer Zora Neale Hurston on the 1931 Broadway show "Fast and Furious: A Colored Revue in 37 Scenes" and taking on a featured role in Paul Robeson's "Emperor Jones" (1933).

Starting in the late 1930s, Mabley became the first woman comedian to be featured at the Apollo, going on to appear on the theater's stage more times than any other performer. She returned to the big screen as well with "The Big Timers" (1945), "Boarding House Blues" (1948), and the musical revue "Killer Diller" (1948), which featured Nat King Cole and Butterfly McQueen.

By the late 1950s Moms Mabley was one of the highest-paid comics in the US, making $10,000 a week. Mabley's standup routines were riotous affairs augmented by the aesthetic she presented as being an older, housedress-clad figure who provided sly commentary on racial bigotry to African-American audiences. Her jokes also pointed towards a lusty zest for younger men.

Mabley began a recording career with her Chess Records debut album "The Funniest Woman Alive," which became gold-certified. Subsequent albums like "Moms Mabley at the Playboy Club," "Moms Mabley at the UN" and "Young Men, Si - Old Men, No" continued to broaden Mabley's reach (she ultimately recorded many albums). She landed spots on some of the top variety shows of the day, including "The Ed Sullivan Show," and graced the stage of Carnegie Hall.

Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.

Mobley had a starring role in the 1974 picture "Amazing Grace," which she was able to complete despite having a heart attack during filming.

Over the course of her life, Mabley had six children: Bonnie, Christine, Charles, and Yvonne Ailey, and two placed for adoption when she was a teenager. She died from heart failure on May 23, 1975, in White Plains, New York.

Actress Clarice Taylor, who portrayed Bill Cosby's mother on "The Cosby Show" and was a major fan of Mabley's work, staged the 1987 play "Moms at the Astor Place Theater, in which she portrayed the trailblazing icon.

Fellow comedian Whoopi Goldberg made her directorial debut with the documentary "Moms Mabley: I Got Somethin' to Tell You, which was presented at the Tribeca Film Festival and aired on HBO in 2013.

[would-they-be-good-at-asmr]

[justbusterkeaton]

Newspaper clipping December 1904

[travsd]

Of Billy Reed and His Little Club

A few words on Billy “Zoot” Reed (1913-1974) and Billy Reed’s Little Club (1947-1965). I first learned about this long gone Manhattan institution in writing about the magician Harry Lorayne, and about the gent himself from this ad for a burlesque act with Jean Carroll. Lorayne was far from the only famous entertainer who played the Little Club or gave the joint his custom, but as you see, it…

[boscofuller]

[omgthatdress]

Ray Bourbon was one of the most popular vaudeville performers of the 1930s, performing both as a drag queen and as a regular comedian. He was a frequent collaborator with Mae West, having starred in both Sex and The Pleasure Man, and regularly appeared on tour with her. In 1949, he performed his act Don't Call Me Madame: A Midnight Revue at Carnegie Hall.

The 1950s, more and more laws began restricting drag performances, and he was arrested several times. Taking a note from Christine Jorgensen, Bourbon made the claim that he'd undergone gender reassignment surgery, and changed his name to the feminine Rae.

He built a whole comedic album around his "operation," which you can listen to here.

Bourbon's act didn't age terribly well into the 1960s. A new political gay rights movement based on respectability was underway, and Bourbon's swishy stereotype was at odds with it. Along with that, with the sexual and cultural changes of the 1960s, his act just wasn't that outrageous and shocking anymore.

Everything came to an abrupt and bizarre end when he was arrested and charged as an accessory to murder. Bourbon had been traveling across the country in a junky old car with a trailer carrying about 70 dogs towing behind it. After losing his car to a fire, Bourbon sent his dogs to the nearby Blount's Kennels, where he left them for several months. When he finally had the money to buy a new car and to bail out his "children," the owner of the kennel informed him that his pets had been given away. It's not clear exactly what happened to them, but Bourbon took it to mean that his dogs had been sold to a chemical company to be used in experiments.

Bourbon hired two young men to go look into the matter, to find out where his dogs were, and to rough up Blount. They killed him, instead. Bourbon plead not guilty, but was still convicted and sentenced to ninety-nine years in prison. He died there in 1977.

[yestergaze]

James Cagney was born on July 17th in 1899 in New York City. He began his career in vaudeville as a dancer and comedian till he made his first film appearance in Sinner's Holiday (1930). The following year Public Enemy catapulted him to fame, and he went on to win an Academy Award for playing George M. Cohan in Yankee Doodle Dandy in 1943. He died in March of 1986 at the age of 86.

[oliversrarebooks]

Fitz's Volunteer Part One: The Act

In which a vaudeville fan volunteers for Phantom Fitz's show, ready to play along with some fake hypnosis tricks. Because magic isn't real. Right?

Masterlist

November 1923

TW: mind control, hypnotic induction, mild humiliation, extremely self indulgent

You've always loved going to the vaudevillle. The songs and sketches, the dancers and acrobats, the comedians and the dramatic actors. It's such a good way to take your mind off your troubles -- of which you unfortunately have many -- for just a few hours and relax.

"...and that was the Astounding Flying Lloyd sisters! Give 'em a hand, folks!" said the announcer. "Up next is the mysterious and charming magician and mesmerist Phantom Fitz!"

You've seen this act before, and it was fun and very interesting. He calls up a volunteer from the audience and hypnotizes them into assisting his routine, teasing them and giving them mildly embarrassing bits of business to do. You know it's either a plant or someone told to play along, of course -- you're no gullible rube who believes in magic.

Still, it seems like it must be fun to be led around the stage, pretending to be in a hypnotic trance. It doesn't hurt that he's easy to look at, with a slightly wicked smile and a cheeky sparkle in his eye. What's the harm in being a bit of a fan of a vaudeville performer, after all?

"Now, I'm going to need a willing assistant from the audience to demonstrate my mesmeric power on!" he declares with a flourish of his cape. "Who would like to find themselves completely and helplessly under my power? Don't be shy. I promise I don't bite, unless you want me to." He gave a big wink to the audience.

Hands go up all over, and you briefly consider raising yours. But you'd be too shy to actually go up on stage and do those things, if you were even chosen to begin with. Fitz is scanning the crowd, probably looking for his plant.

But then his eyes stop right on you. He smiles.

Does he want you to volunteer? Why you?

You're curious now. Before you can think twice, your hand raises.

His smile gets much bigger. "You, there," he says, pointing. "Don't be shy, you're perfect for this. You're going to be a natural at following my instructions. I can tell." He beckons you forward, and with all eyes on you, you leave your seat and walk up the stairs onto the stage. As soon as you step up, he takes your hand. His own hand is freezing cold, but something about it feels oddly reassuring, putting you at ease, making it easier to block out the presence of the crowd.

"Thank you for volunteering," he says. That wicked grin is even brighter now that you're close to him. "What's your name?"

You tell him.

"That's a lovely name. Shame you won't be needing it for this performance," he says, leaving you wonder what that means. He reaches behind your ear. "Oh, you have something stuck in your ear, hang on." 

He's pretending to pull out colorful scarves, one after another, and you're pretty sure they must be coming out of his sleeves, but his fingers are so fast and nimble that you can't even quite tell when you're this close. "Not to embarrass you, but perhaps you should wash behind your ears better," he says, as a rainbow of scarves pools at your feet. The crowd is laughing.

You're not sure how to react, and before you can really say anything, he's pulled the scarves away and is leading you over to a chair center stage. "And now, if you don't mind having a seat, we can get down to the important business of molding you into the perfect assistant for me."

"All right," you say nervously, not sure what you're supposed to do. You had assumed this was a plant. Are you going to have to play-act being hypnotized? You've never been very good at acting, and you're worried you might spoil the act.

"Now don't you fret," he says, standing behind the chair and placing a soft hand on top of your head. "No one is able to resist my mesmeric powers for long. All you need to do is sit back and relax." He leans in closer, and you assume he's going to whisper instructions. Instead, he says, "Do you mind if I touch you like this? I need to keep your head steady in case you start to doze off."

"...No?" you say, surprised. Does he actually think you're going to fall asleep, that his hypnosis will work in truth?

"Good," he says, and produces a heavy brass pocketwatch, which he dangles in front of your face. It's finely made with a pretty face, and it ticks softly and rhythmically as he swings it back and forth before your eyes. "Now just watch the pretty pocketwatch, dear," he says. "Keep your eyes focused as it swings back and forth, back and forth. Focus on nothing else but the watch and my voice."

Wanting to do your best, you let your eyes follow the watch, and you feel something strange, starting at the top of your head where Fitz is holding his hand. It feels warm. Relaxing. Dizzying. Almost like sinking into a warm bath.

"Yes, that's right, you're doing so well," he encourages. "I knew you'd be so good at this. You're already starting to get sleepy, aren't you? So sleepy and drowsy. That's my mesmeric power starting to work on you, dear."

Of course, you're not actually going to start falling asleep on stage in front of an entire audience just because of a pocketwatch and a few honeyed words...

Of course you're not...

"That's it. Such a good assistant. Every swing of the watch making you sleepier and sleepier. So drowsy. So relaxed, so tired, such heavy eyelids..."

You shake yourself out of the daze you're falling into. What's happening? It has to be your imagination, but you actually do feel sleepy. You can't tear your eyes away from the watch, and it feels like Fitz's commands are sinking deep into your mind. This can't actually be working on you, can it?

"You're just so tired and drowsy, tired and sleepy. Your eyelids are so heavy, drifting shut, like they want to stay closed... getting sleepier and sleepier..." The hand on top of your head gently strokes your hair, and the drowsy daze intensifies, your head drooping forward before you catch yourself. "You're so drowsy that you're starting to fall asleep, dear."

It's hard to think through the haze. You can't see the audience very well past the heavy, swinging watch, but your mind is trying to alert you to the fact that you're being mesmerized in front of an entire crowd. It feels so real, so hard to keep yourself awake.

"You're getting so, so sleepy as I cast my magic spell on you," he says, and even though he's speaking loud enough for the audience to hear, he feels so close, like he's only talking to you. "Wouldn't it be nice to shut down those heavy eyes, to relax completely, and to listen sleepily to my voice speaking to you?"

You feel yourself nod. Yes, yes that sounds so nice. You're so drowsy and relaxed and everything feels so warm and good. It makes you feel especially nice to agree with what he's saying. Falling asleep and listening to Fitz just sounds perfect. But --

But -- !

Wait! You're actually falling asleep. You're actually following his commands. He's actually hypnotizing you. It's no trick, it's no act. He's putting you under his control up on a vaudeville stage, in front of a packed theater. Your cheeks flush, and you regain enough of yourself to flinch away from the pocketwatch. You should regain focus before it's too late and you fall completely under his mesmeric influence.

"Oh, dear," he whispers softly in your ear. "It's not the pocketwatch that's putting you under my spell. And I think it's a bit too late for you to resist."

A deep, irresistible drowsiness crashes through you. Your shoulders slump and your head tips forward as you struggle to keep your impossibly heavy eyes open. It's too late -- too late to resist -- you're being hypnotized --

"Shut your eyes, dear," he says, his hand petting you. "It's time to let your heavy, drowsy eyes shut, and remain shut, just like they want to, to relax and fall asleep and listen to me."

Any fight you had left in you has gone, replaced by a hazy feeling of bliss. Closing your eyes feels far too good to fight. Falling asleep and listening to Fitz's voice sounds so, so nice. Why even bother struggling against it? Why not just fall asleep...? 

"Good, good, you're such a natural at this," he says encouragingly. "Your sleepy little eyes want  to stay closed. They're far too heavy to open again. You might want to try, but if you do, you'll find that you can't. It's like they're glued shut. Can you try for me?"

Your eyebrows furrow as you try to open your eyes. Not only are they heavy, but they feel too relaxed to even respond to your commands. It's impossible.

"You can stop trying now and relax. You're doing so well. Such an ideal hypnotized assistant," he says, and you feel yourself practically glowing with the praise. "Now I'm going to have you imagine you're at the top of a staircase. Can you see it? There are ten stairs, and we're going to walk down each one of them, and with every step, you're going to go deeper asleep and deeper into hypnotic trance. Ten... nine..."

You can't believe how it feels to float in a comfortable cloud of sleep and relaxation, absorbing every word Fitz says. You could happily stay like this forever. 

"Five... your hypnotized mind is so obedient... four... it feels so good and natural to obey..."

You don't even need to stay aware of what's happening -- he tells you it's perfectly fine if you're deeply asleep, that you can still listen so carefully while you doze. He's so encouraging and kind and that hand on top of your head seems to just radiate delicious warmth.

"...and you're going to forget you name, dear. You're so deeply sleepy and hypnotized that you can't even remember your own name. It's hidden away in your mind, in a place where you can't reach, and it feels good to forget and sink more deeply into sleep..."

Mmm, yeah, it feels good to forget. Anything Fitz wants you to do is fine with you.

"...and when I count to three, you're going to open your eyes, slowly, so as not to disturb your relaxation. You're going to open your eyes, but you're going to remain deeply asleep and deeply hypnotized, and you're going to forget the audience and focus only on me. Three... remain deeply asleep... two... relaxed and hypnotized... and one... open your eyes."

Your eyes pop open so easily as if you weren't just in the deepest sleep of your life. Or maybe you still are? There's a fuzzy blur in front of you and you're not quite sure where you are until Fitz gets your attention. 

"How are you doing, my sweet little assistant?"

"Very good," you say, eager to please.

He grins, and you feel like a million bucks. "Can you sing a little song for us, just to prove to the audience that you're back in the land of the living?"

Well, of course you can. You can sing the song that's been trapped in your head ever since you heard it on the radio this afternoon. "Yes, we have no bananas," you sing out. "We have no bananas today!"

"That's perfect, dear," Fitz says, laughing. You hear other laughs in the distance, but they aren't important. "Now I seem to have dropped a penny. Would you mind getting on all fours and picking it up?"

You drop to your knees, carefully looking across the stage floor, but you don't see any sign of a penny.

"Never mind, I've already found it. You're very, very good at following instructions, though. I wonder why that is." He winks, and there's another loud laugh in the distance. 

Fitz offers a hand to pull you up, and you feel so wonderfully lovely as he does. "You've been such an excellent assistant so far, simply perfect," he says, letting you bask in the pleasure. "But I have to apologize, because I seem to have forgotten your name. Could you remind me?"

Of course you --

The word dies in your throat. It's at the tip of your tongue, but for some reason, you can't produce it. What is your name? You want to tell Fitz, but it's a complete blank. How could you forget your own name? Just as you feel your cheeks heating up in embarrassment, he smiles and cups your face so gently. "Shhh, it's okay. It's okay that you forgot your name. I don't mind at all. You can just relax and not worry about it."

What a relief! Another wave of sleepy, soothing calm washes through you.

"I'm just going to call you dear anyway, is that all right, dear?"

"Yes."

"So agreeable! Folks, you can't just find good help like this. You have to make it yourself." He releases you and steps back. "Now, just to prove what a hypnotized little thing you are, I would like you to do a trust fall. I'm going to stand here, and on the count of three, you're going to feel all your muscles give way, and you're going to fall backwards right into my arms."

"A trust fall...?" you say, a little apprehensive.

"You trust me, and you want to fall for me, don't you?" he says, with a wicked smile in your direction, and despite your overall relaxation, you can feel your heart flip. "Now then. Three... two... one."

It's so easy. On the count, your body just falls backwards entirely on its own, right into his strong, cold arms. He smells like fancy soap and floral cologne and stage makeup. Some part of you wouldn't mind staying pressed up against him longer. But he sets you upright to the sound of cheers.

"Ladies and gentlemen, as you can see, my assistant is now utterly, helplessly at my command. Isn't that right, dear?"

"Yes, Phantom Fitz," you agree.

"I'm going to have you help me with a few magic tricks. You're such a good assistant that you won't need to think about any of them with your conscious mind. You can just relax and let me direct you, and with every command, you'll feel more deeply asleep and more deeply hypnotized."

You nod drowsily, and let him take you by the shoulders and direct you over to a card table. It feels good to be near him, to listen. He calls up a few more people on stage and you're shuffling and holding cards while he does some tricks you can't quite follow. It's so easy to follow his directions. So easy to focus and listen. 

"Can someone from the audience suggest a pose for my wonderful assistant?" he says. You hear shouts, but you can't take your attention from Fitz. "Oh, that's a good one. Yes, why don't you pose like you're a pretty ballerina?"

You stand on tiptoe and put your arms up in a circle over your head, doing your best to imitate a dancer. He looks you over, appraising you as if you're a statue, adjusting you here and there with a light touch. Finally, he laughs, picks up the line of scarves from the floor, and drapes it around you. "A brilliant work of art, don't you think?" he says to the crowd with a flourish. "This is the kind of statue that you can only see in the finest galleries of Paris, but I've brought it to you right here."

He bows, and then touches your arms so gently. "You can relax now, dear. You've made an excellent statue."

He then has you lay down on a table, his hands pushing your shoulders down gently, and you feel yourself being levitated in midair. There's some kind of platform underneath you and you stay absolutely still just as Fitz ordered. He waves a hoop around your body, and then gently brushes the hair from your face as you lay there, dazed and immobilized.

You look up into his gray-blue eyes. You're so helpless, entirely at his mercy. And that smile makes you feel weak.

You're lowered back onto the table, and he helps you to stand again, your knees feeling wobbly. He holds you up discreetly as he bows to the audience. "Please give a round of applause to my hopelessly mesmerized little helper!" he says, gesturing to you, and you can just see the crowd beyond your lidded eyes as they cheer.

Fitz takes you by the shoulders and is standing oh-so-close. "I'm going to wake you up now so you can go back to your seat, but you're still going to feel drowsy and hypnotized, and you won't quite know why," he whispers, barely audible over the noise of the audience. "Once the show is done, you're going to come find me backstage. You won't remember these commands, but you will act on them. Do you understand, dear?"

You nod. You feel so lovely that you really don't want to be woken up, but you like the idea of getting to see Fitz again. 

"And now you're going to wake up from my mesmeric power when I snap my fingers in one... two... three..."

He snaps his fingers near your ear, and the world snaps back into focus. A whole packed audience of people, men, women, and children, are laughing and cheering for you. You remember the things you did and said, how completely entranced you felt and how powerless you were to resist Fitz's commands. How you couldn't even remember your own name, and how you let him put his hands all over you...

"You feel fine after all of that, don't you?" he says with a smile.

Your momentary humiliation fades, but you're still so woozy, like it's hard to think straight. "Fine. Good, really. Like I've had a really good night's sleep," you say uncertainly.

He leans in to whisper in your ear. "You did an excellent job playing along."

"Playing along?" you can't help but blurt out. He can't possibly think that -- he must know what he did, what he's capable of --

"Here, let me help you off the stage."

You're not sure why, but you let him take your shoulders and guide you to the stairs as if you're a docile little lamb. You're so dazed, nearly tripping over your feet as you stumble back to your seat. 

"What was that like?" says the stranger in the seat next to yours. "It seemed so real. Did he actually have you under?"

You don't really want to admit to a perfect stranger that you were under an actual mesmeric spell. She'd think you're making it up. "No, it was just pretend," you say.

"I figured. You did a good job with it! I don't think I could pretend to do all those things if I were on stage."

You nod. You don't think you could, either, not if you actually were pretending.

Playing along...

You weren't, were you? It felt so real. You can hardly remember most of it, and you genuinely felt that you were in a deep, entranced sleep. You remember that all you wanted to do was agree with Fitz and obey his orders. Wasn't it actual hypnosis? Or are you just so weak-willed that you fell under the fake spell of a two-bit vaudeville performer...

Fitz has picked up his props and gone offstage, and a couple of comedians are doing a bit now. You watch without paying the slightest bit of attention. You're so tired after all of that excitement. So sleepy.

There's something you need to do after the show, but you can't quite remember what it is. You hope that you can remember when the show ends.

Masterlist >> Part Two

Thank you for volunteering for Phantom Fitz's show. Next time, we'll see what happens to our victim volunteer as they go to meet him backstage.

@d-cs @latenightcupsofcoffee @thecyrulik @dismemberment-on-a-tuesday-night @wanderinggoblin @whumpyourdamnpears @only-shadows-dwell-where-we-are @pressedpenn @pigeonwhumps @amusedmuralist @xx-adam-xx @ivycloak @irregular-book @whumpsoda @mj-or-say10 @pokemaniacgemini @whumpshaped @whumpsday @morning-star-whump @shinyotachi @silly-scroimblo-skrunkl @steh-lar-uh-nuhs @pirefyrelight @theauthorintraining-blog @whump-me-all-night-long @anonfromcanada @typewrittenfangs @tessellated-sunl1ght @cleverinsidejoke @abirbable @ichorousambrosia @a-formless-entity

[jonathanrook]

part of this issue obviously is i'm writing colgate fic. which is arguably the biggest issue, in fact, bc why would anyone willingly write colgate fic. BUT. i actually kind of like that bc we can say the a/b/o designations are the only/primary sexes of an alien species, bc i fucking despise the secondary gender thing. but. this raises another issue. called what is the evolutionary advantage of this. and why are their hybrid offspring fertile. bc ofc they are.

isn't it fun watching me real time try to make sense of my current fic. this is what you were all missing out on when i was just posting this on twitter.

[silentdivasblog]

Fanny Brice ❤️

[friendlessghoul]

It was not always possible to take that war seriously. In the first place I could not understand why we, the French, and the English were fighting the Germans and the Austrians. Being in vaudeville all of my life had made me international-minded. I had met too many kindly German performers—singers and acrobats and musicians—to believe they could be as evil as they were being portrayed in our newspapers. Having known Germans, Japanese jugglers, Chinese magicians, Italian tenors, Swiss yodelers and bell-ringers, Irish, Jewish, and Dutch comedians, British dancers, and whirling dervishes from India, I believed people from everywhere in the world were about the same. Not as individuals, of course, but taken as a group.

- Buster Keaton, My Wonderful World of Slapstick - Page 98

[buster-keaton]

from the moving picture world magazine, november 1920

transcript under cut

transcript:

Buster Keaton Disregards Birthday to Finish Film

Buster Keaton spent his birthday working before the camera in the closing scenes of his fourth two-reel comedy, "Neighbors". Buster is serious in his occupation of making people laugh, and a long October day in California was coming to a close before the nimble comedian remembered that it was the occasion of his twenty-fifth anniversary, but he refused to doff his makeup and comedy clothes until the last scene was "shot".

That evening, however, Buster was the guest of honor at a birthday party given by his parents, Joseph and Myra Keaton, in their residence in the Hollywood picture colony. The elder Keatons and Buster made up the famous knockabout comedy team of the Three Keatons in vaudeville.

At Buster's birthday party the entire personnel of his studios, from Lou Anger, business manager for Joseph M. Schenck, down to the office boy, Luke McGluke, was present. Other guests were Roscoe "Fatty" Arbuckle, the Metro stars, Viola Dana and Alice Lake; Shirley Mason, Miss Dana's sister; Lew Cody and Bernard Durning.

[justbusterkeaton]

Promotional Poster For The Three Keatons

[travsd]

A W.C. Fields Finding Aid

We’ve long since passed 100 posts on the topic of William Claude Dukenfeld, a.k.a. W.C. Fields (1880-1946) on this blog and so we thought we’d mark his birthday (January 29) with this new handy finding aid to help you navigate them. And if you prefer to browse, the W.C. Fields section of Travalanche is here. Below, some of the key posts: Main Biographical Post (Including Vaudeville…

[ridenwithbiden]

LOS ANGELES (AP) — Teri Garr, the quirky comedy actor who rose from background dancer in Elvis Presley movies to co-star of such favorites as "Young Frankenstein" and "Tootsie," has died. She was 79.

Garr died Tuesday of multiple sclerosis “surrounded by family and friends,” said publicist Heidi Schaeffer. Garr battled other health problems in recent years and underwent an operation in January 2007 to repair an aneurysm.

Admirers took to social media in her honor, with writer-director Paul Feig calling her “truly one of my comedy heroes. I couldn’t have loved her more” and screenwriter Cinco Paul saying: “Never the star, but always shining. She made everything she was in better.”

The actor, who was sometimes credited as Terri, Terry or Terry Ann during her long career, seemed destined for show business from her childhood.

Her father was Eddie Garr, a well-known vaudeville comedian; her mother was Phyllis Lind, one of the original high-kicking Rockettes at New York's Radio City Music Hall. Their daughter began dance lessons at 6 and by 14 was dancing with the San Francisco and Los Angeles ballet companies.

She was 16 when she joined the road company of "West Side Story" in Los Angeles, and as early as 1963 she began appearing in bit parts in films.

She recalled in a 1988 interview how she won the "West Side Story" role. After being dropped from her first audition, she returned a day later in different clothes and was accepted.

From there, Garr found steady work dancing in movies, and she appeared in the chorus of nine Presley films, including "Viva Las Vegas," "Roustabout" and "Clambake."

She also appeared on numerous television shows, including “Star Trek,” “Dr. Kildare” and “Batman,” and was a featured dancer on the rock ‘n’ roll music show “Shindig,” the rock concert performance T.A.M.I. and a cast member of “The Sonny and Cher Comedy Hour.”

Her big film break came as Gene Hackman’s girlfriend in 1974’s Francis Ford Coppola thriller “The Conversation.” That led to an interview with Mel Brooks, who said he would hire her for the role of Gene Wilder’s German lab assistant in 1974’s “Young Frankenstein” — if she could speak with a German accent.

“Cher had this German woman, Renata, making wigs, so I got the accent from her,” Garr once recalled.

The film established her as a talented comedy performer, with New Yorker film critic Pauline Kael proclaiming her “the funniest neurotic dizzy dame on the screen.”

Her big smile and off-center appeal helped land her roles in “Oh God!” opposite George Burns and John Denver, “Mr. Mom” (as Michael Keaton’s wife) and “Tootsie” in which she played the girlfriend who loses Dustin Hoffman to Jessica Lange and learns that he has dressed up as a woman to revive his career. (She also lost the supporting actress Oscar at that year’s Academy Awards to Lange.)

Although best known for comedy, Garr showed in such films as “Close Encounters of the Third Kind,” “The Black Stallion” and “The Escape Artist” that she could handle drama equally well.

“I would like to play ‘Norma Rae’ and ‘Sophie’s Choice,’ but I never got the chance,” she once said, adding she had become typecast as a comic actor.

She had a flair for spontaneous humor, often playing David Letterman’s foil during guest appearances on NBC’s “Late Night With David Letterman” early in its run.

Her appearances became so frequent, and the pair’s good-natured bickering so convincing, that for a time rumors cropped up that they were romantically involved. Years later, Letterman credited those early appearances with helping make the show a hit.

It was also during those years that Garr began to feel “a little beeping or ticking” in her right leg. It began in 1983 and eventually spread to her right arm as well, but she felt she could live with it. By 1999 the symptoms had become so severe that she consulted a doctor. The diagnosis: multiple sclerosis.

For three years Garr didn’t reveal her illness.

“I was afraid that I wouldn’t get work,” she explained in a 2003 interview. “People hear MS and think, ‘Oh, my God, the person has two days to live.’”

After going public, she became a spokesperson for the National Multiple Sclerosis Society, making humorous speeches to gatherings in the U.S. and Canada.

“You have to find your center and roll with the punches because that’s a hard thing to do: to have people pity you,” she commented in 2005. “Just trying to explain to people that I’m OK is tiresome.”

She also continued to act, appearing on “Law & Order: Special Victims Unit,” “Greetings From Tucson,” “Life With Bonnie” and other TV shows. She also had a brief recurring role on “Friends” in the 1990s as Lisa Kudrow’s mother. After several failed romances, Garr married contractor John O’Neil in 1993. They adopted a daughter, Molly, before divorcing in 1996.

In her 2005 autobiography, “Speedbumps: Flooring It Through Hollywood,” Garr explained her decision not to discuss her age.

“My mother taught me that showbiz people never tell their real ages. She never revealed hers or my father’s,” she wrote.

She said she was born in Los Angeles, although most reference books list Lakewood, Ohio. As her father’s career waned, the family, including Teri’s two older brothers, lived with relatives in the Midwest and East.

The Garrs eventually moved back to California, settling in the San Fernando Valley, where Teri graduated from North Hollywood High School and studied speech and drama for two years at California State University, Northridge.

Garr recalled in 1988 what her father had told his children about pursuing a career in Hollywood.

“Don’t be in this business,” he told them. “It’s the lowest. It’s humiliating to people.”

Garr is survived by her daughter, Molly O’Neil, and a grandson, Tyryn.

(She was great in Martin Scorsese "After Hours" too.)